Christian Hoffer's Comic Reviews

Reviewer For: ComicBook.com Reviews: 1205
6.7Avg. Review Rating

American Carnage is a strong start to a story that feels very important, especially in today's world. It feels authentic and comes at a time where we need a hard look at how these movements start.
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This is really great stuff, a nuanced look at a terrible topic that doubles as a captivating and compelling crime story.
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This is a fantastic and nuanced series, one that combines gritty criminal drama with a hard look at the worst parts of society.
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I'll admit that this is a fascinating issue, one that touches on some of the eldritch and pulp leanings of the "Gotham by Gaslight" world, but also suggests that things are more complex than meets the eye.
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Snyder and Capullo really do bring out the best in one another when they work together, and the lengthier page count helps as well.
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Last Knight, in it's own twisted way, is a really fun read and it's great to see Snyder and Capullo with the shackles off and weaving a strange new tale in the DC Universe.
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Ultimately, this is a fun story that highlights a younger Batman and Robin and their differing approaches to fighting crime, along with a Freeze who is evil, but still retains a brief hope of redemption.
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Bitter Root isn't afraid to tackle weighty issues while still having some fun, giving us some new heroes that are much needed in today's world.
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Bitter Root is a fun book, Bitter Root is a smart book, and most importantly Bitter Root is a necessary book for today's world.
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This is a deliberately grim comic, but a powerful one.
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The deep metaphors in this book, wrapped around an exciting storyline about facing insurmountable odds, are extremely good.
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This issue is mostly a reintroduction to the world of Bitter Root, but it's a great jumping on point and also sets up even bigger stakes for this next arc.
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Overall, this is still one of Image's best series.
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The creative team of David F. Walker, Sanford Greene, and Chuck Brown are doing fantastic work in Bitter Root, blending together action and magic with hard looks at the racism that Black people have always faced in our nation.
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After all, what progress is truly being made in dealing with racism and bigotry, even after a summer of protests and endless talking points and superficial changes?
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Bitter Root #11 serves as a great jumping on point for one of Image's best series.
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It's another fantastic issue of one of the best series in recent years. Every issue is a must read.
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This is the rare anthology comic that enhances its character instead of padding it, providing some added depth before Bitter Root's second arc.
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Blackwood was a great comic that didn't receive nearly enough acclaim, and I'm glad to see its mix of occult weirdness, humor, and horror return.
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Blackwood could be a contender for series of the year, and I can't wait to read what happens next.
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This is the best horror comic of 2018, a must-read for fans of the occult, Lovecraft, or the strange.
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Humorous, heartbreaking, and intense, Blackwood: The Mourning After is a great series that should be getting a lot more acclaim.
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Bloodborne is a great horror comic, and a book that transcends the material which it's based on and finds a way to truly disturb every issue.
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Originally, this issue was supposed to be the end of Ales Kot and Piotr Kowalski's story on Bloodborne. But while this issue's end is appropriately vague, I'm glad that we'll get to see more of this world for a while longer.
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Vox Machina Origins II is one of the best comics adaptations I've read in a while. It oozes fun and personality, and serves as an excellent starting point for fans interested in what Critical Role has to offer. It's also a great fantasy series that can be enjoyed by anyone who loves traditional adventures in high fantasy.
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This is another wonderful issue"a must read for Critters everywhere.
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This issue reminded me a lot of the early episodes of Critical Role, in the best possible way, and I think fans will continue to love this series.
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Olivia Samson's artwork remains phenomenal"she's had a fantastic 2019 and I hope we get to see her shine even more next year.
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This is a great start to a series, and it really brings Daredevil into some surprisingly unexplored territory.
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This is another fun issue that explores a side of Daredevil that we don't often see, and the series is quickly becoming one of Marvel's finest books.
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Dark Knights of Steel is an exciting comic book and will hopefully mark the start of a wider world that Taylor, Putri, and other creators can romp in for years to come.
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This is already becoming one of DC's strongest comics.
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Dark Knights of Steel #3 is a fantastic comic, one that tells a great story unshackled by the constraints of continuity.
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This was a great fifth issue and sets up what should be a very intriguing second half of the series.
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This is another very strong issue of one of DC's best comics.
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This isn't high fantasy it's violent fantasy and I'm enjoying every moment of it.
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By embracing the darkness, Detective Comics #1062 sets the mood for what could be an instant classic by two of the comic industry's top talents.
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This is a fantastic Batman comic, in part because it seems so unlike any other Batman comic that's come before.
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This was a strong finale to the arc and continues to build upon previous B-stories and character focuses from previous issues. A fun end that sets up a promising next arc.
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This is definitely the most interesting Detective Comics has been since the Morrison era and I'm looking forward to the comic's continuation.
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Die lures you in and sinks its hooks into you, leaving you wanting more and, in essence, turning you into the very thing it warns against.
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The Wicked + The Divine, Phonogram, and Journey Into Mystery always had a bit of a playful side that balanced out all the darkness, but DIE is all horror, darkness, and misery. And it's absolutely brilliant.
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Gillen knows how to twist the knife in a way that both depresses and educates his readers.
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This book is such a masterclass on storytelling and a commentary on TTRPGs, and I can't wait to see what happens next issue.
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DIE #5 is a pretty fantastic issue, the perfect finale to an action-packed opening arc.
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As Kieron Gillen notes in the afterward, DIE is not only about RPGs, but also about how people get the fantasy they crave and the consequences of it. In that regard, DIE is another brilliant issue, with beautiful Stephanie Hans, a story that deserves multiple re-reads, and an ending that reveals just why the party was so hesitant about going back to their old stomping grounds.
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As always, everything about this series is perfect, and DIE remains one of the top characters on the stand.
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This remains such a complicated and wonderful book that reminds readers that not all choices have easy answers or clean endings.
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This remains a fantastic fantasy series that takes a hard look at how the games we play affect our lives.
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This is easily Image's best comic of the year.
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Die remains a masterclass in blending fantasy action with heartwrenching introspection, and I can't wait to see how this arc ends.
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A ton happens in this issue, including more digging into the literature that forms the foundation of DIE, and this continues to be the best comic available today.
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I could write a long essay about why DIE is a must-read comic, but it's definitely a "critical hit" for anyone who has ever had a complicated relationship with a game.
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It's hard to explain much more without spoiling this issue, but just know that DIE remains the best comic on the stands today.
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The next arc sends DIE into one of the most classic fantasy tropes of all, and I can't wait to see what happens next.
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As DIE enters its final act, it heads to a new area marked by a new theme familiar to all gamers - cosmic horror.
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If you have a relationship with tabletop games or the Cthulhu mythos, this is a must-read comic.
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Everything about this comic is heartbreaking and somber, and I'm wondering how the creative team will deliver even more sadness in its final two issues.
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DIE ends next month, and I will miss this masterful comic, the best book Image has published in years.
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DIE asks the question if letting that fandom feed on your soul, if inviting it to become a part of your true self, is a good or bad thing. It provides no easy answers"enjoying something to the point that you "lose yourself" to it can provide relief, joy, and comfort, and it can also be toxic and harmful"but the examination itself was poignant, thoughtful, and masterful throughout.
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A Darkened Wish is a must read for any fans of "classic" fantasy, even if you've never picked up a die to play D&D.
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This is the definitely the strongest D&D comic of the year.
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The real highlight of this issue is Max Dunbar's art, who does an amazing job bringing one of the Forgotten Realms' critical historical moments to life. Dunbar is a fantastic artist, and his work really shines this issue.
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While Jim Zub's writing is top notch, Max Dunbar's art is really what shines here.
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Fables #159 is the best issue of the series' revival, in part because it comes closest to capture the form of the original series.
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If you're a Spider-Man fan, you'll love this comic.
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I'm glad that The Blue Wall finally lived up to its potential, because this is a comic that I'll be thinking about for a while.
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The result is not only one of the better comics of 2023, but also one of the strongest Image Comics debuts published in the last decade.
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Hexagon Bridge continues at its slow pace, but the art continues to be the highlight of the issue.
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A fantastic first issue, a testament to Bond without glorifying imperial Britain.
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Honestly, this is a great James Bond series, one that blends the ruthlessness of the original novels with some of the theatrics of the movies and Garth Ennis's very distinct humor.
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Those who loved the DnA run of Guardians of the Galaxy needs to pick up this comic"it has quickly turned into one of DC's best books.
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And while Thor and Loki's battle is earth-shattering and epic, it's also melancholic and barren, a reminder that we're approaching the end, not only of Thor, but of the entire universe.
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King Thor ends Jason Aaron's Thor run on a melancholy high note, which seems fitting given the epic story he's woven over the past few years.
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Truly fantastic stuff Federici needs a top-tier comic ASAP.
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Mamo #1 by Sas Milledge is a stunningly gorgeous comic that uses a focus on its two lead characters to tease the magic lurking on the outskirts of its world, hiding just beneath the surface.
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Honestly, as a fan of folklore, I'm a wholehearted fan of Mamo and can't wait to read more.
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Mamo is a refreshing, witchy comic perfect for the upcoming spooky season.
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It's horrific and sad without being grotesque, and honestly this is just the sort of grey and sad magic story that we need more of.
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It's a must-read series for 2021.
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This is quickly turning into a must-read comics series.
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Tom King and Mitch Gerads draw on their creative strengths to pull off what's probably the best issue of the Mister Miracle maxi-series.
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But while Mister Miracle #11 was another strong issue of a consistently strong miniseries, I feel that everyone will be waiting with bated breath for next month's finale to see whether King and Gerads stick the landing, or if this issue's big twist falls flat.
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This is a strong first issue and is highly recommend for anyone who loves fantasy or is just looking for something different out of their comics.
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Any comic that fits in a bard gag is worthy of high praise, and Modern Fantasy is one of the funniest comics I've read this year.
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Naomi feels like a special comic, although it's sadly still too soon to say for certain. The book is excellently written and illustrated, and even the pacing is very consistent, albeit frustratingly slow at times.
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Naomi #6 is a bright and colorful finale to its opening arc that gives the title character a firm purpose in her world.
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This is a great return to the Milestone Universe and I hope that every Milestone comic receives the same care and fantastic storytelling as Static: Season One.
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As evidenced by the last two pages, there will be some big ramifications for Superman moving forward, but I think Bendis and Ivan Reis did a fantastic job bringing this milestone to life.
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This might be the best issue of Brian Bendis's Superman yet.
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Superman #21 is what every superhero comic needs to be. It lingers on the big moments when it needs to, it doesn't rush through conversations or scenes, and it doesn't fall prey to padding an issue for the trade.
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Some fans may not like how swiftly a few of the looming subplots are seemingly dealt with (another Bendis hallmark), but honestly, there's very little to hate about this very good superhero comic.
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This is a must-read issue of Superman that explains everything that's gone on through the character's head over the last couple of years.
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With Bendis's run on Superman starting to wind down, I think issues like this one are what I'll miss the most.
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The duo of Michael Oeming and Taki Soma are one of the best in the business and they make every issue of The After Realm a must read experience just for the art.
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While the comic seems to relish showcasing Batman's roots and how different the Golden Age Batman was from his modern incarnation, Jurgens and Perkins still tell a compelling pulp tale that excites and intrigues on its own merits.
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Derek Landy and Philip Tan have made me care about the Black Order.
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This is a must-read comic that will both entertain and educate and help fill your gaps in cartoon history.
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This is another must-read issue for anyone who loves cartoons.
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This is another well-researched issue, and next issue's dive into the Saturday Morning Cartoon blocks should be equally fantastic.
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If you are a fan of cartoons and animation, you really should pick up this comic.
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The Good Asian #1 is one of the strongest debuts of 2021 so far. Not only is the comic a poignant tale on its own, its subject and protagonist are especially striking given recent events.
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The Good Asian #2 continues on a strong first issue with another lurid look into San Francisco during the 1930s.
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This is a great comic and has become one of 2021's must-read books.
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Every good noir story continuously raises the stakes, and creator Pornsak Pichetshote finds a fantastic way to mix external factors (the very real anti-Asian sentiments during the 1930s) with an extremely personal one.
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This is a must-read series, one of the best of the year.
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This is a can't miss series, one of the best published by Image today.
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Bringing in Lucy for the final chapters was a good step, not only because it gives Edison someone who doesn't put up with his constant self-loathing, but also because it shows him the value of having someone he can trust.
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The Last God is a strong first chapter with gorgeous art that feels very different from other fantasy comics out there. If you're a fan of classic sword and sorcery fantasy, pick up The Last God today.
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All in all, this is a great chapter, one that's both weird and horrifying and completely unlike any other fantasy tale in recent history.
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The Last God is a tale of the past and the present, and the choices that connects them. The comic wonders aloud whether a society built upon a flawed premise can survive in the face of adversity, or if it's better to burn it all down and start again.
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The Lonesome Hunters #1 is an intriguing new take on the occult and the otherworldly forces that lurk unseen within the mundane.
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The Lonesome Hunters #2 continues to slowly peel back the world of the strange magic lurking underneath the surface of the world.
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One of the sleeper hits of the summer.
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The Lonesome Hunters features the opposite of a destined hero and it's really quite refreshing.
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This feels like the first issue to really show The Terrifics potential. I just hope that the readership was willing to wait four issues to see how terrific this series could be.
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The comic is an excellent fantasy story, one that teases a bigger world while remaining focused on a balance of character-focused scenes and plot. This comic is well worth your time, even if you've read it before.
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This is a great opening chapter to the series' final arc and should have fans begging to see what happens next.
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Not only is this comic gorgeous, it feels exciting and dangerous and addicting. I can't wait for the next issue.
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Gillen and McKelvie have done a fantastic job of bringing everything together, and now all that's left is for one final battle of the gods and hopefully one last song.
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This is another fun issue of Usagi Yojimbo, one that captures all of the spirit and humor of one of the best comics of the last 50 years.
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This comic is a fantastic example of how to use existing continuity and origins as a foundation for something new, and how to tell a complete story in a single issue.
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If you weren't sold on the 22-part "X of Swords" event before this issue, you should be after reading X-Factor.
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This is the first great issue of Avengers: Twilight the previous two were good, but this is clearly a step above.
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The series may have taken a little longer than people had hoped, but it's still become one of the most consistently excellent books in DC's catalog.
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This is a great issue that uses Jonathan Case's artwork to tell a great story, with Cass (who is usually the butt-kicker of the Batgirls) trying to use her detective skills instead. Case uses a more stylized and energetic aesthetic, with Cass's eyes doing most of the emoting on a backdrop of a detail-light costume.
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The twists in this issue of Beyond the Pale is much more barbarous than anything I would have expected, and really sells the idea of setting a horror comic in the middle of the Vietnam War.
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Bitter Root continues to impress as it weaves multiple subplots around the Sangerye family.
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While I feel like this arc was a bit rushed, I was certainly happy with the payoff.
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Allwinter is a solid expansion to the original Dark Knights of Steel and I'm glad that DC sees value in this fantasy-inspired take on their superhero universe. Taylor ushered in a bold and dangerous ethos with the original miniseries and Allwinter, at least at the outset, appears ready to continue this.
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While there aren't as many shocks like the previous episodes, I did like the creepy take on the Green Man and felt that it provides a fresh take on a pair of classic DC villains.
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It's gone gothic in a hurry and is quickly becoming one of the best Batman stories in a decade.
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One of the best Batman stories in years continues to churn out a strange, melancholy melody.
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I did feel like this mini-arc perhaps stretched a bit too much, with the involvement of Dr. Hurt seemingly slotted in as a late addition, but once again Ram V brings everything together to a satisfactory conclusion.
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All in all, this was a very solid debut and has all the makings of an American Vampire-esque hit.
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This is a fun opening issue and can be enjoyed by readers of Zub's past D&D series or newcomers to the longrunning story. I'm curious to see where this particular adventure goes as it doesn't have any obvious parallel to a previous D&D campaign adventure.
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Writer Zoe Quinn and writer Bayleigh Underwood do a fantastic job of brining Mordenheim to life in a tale that reminds me a bit of the classic Ravenloft novels that contributed to the popularity of the horror-themed campaign setting.
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All in all, this is a great little horror comic, one that fleshes out Viktra Mordenheim in the same way the Ravenloft novels did in the 1990s.
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This is a truly innovative comic and I'm impressed that the landscape format has not been a detriment to the series at all.
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This was the epitome of Fables "going big" with the too long build-up being worth the very epic feel and danger of all the fights.
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Fables #161 and its predecessor are reminiscent of Fables' peak, when the series was both unpredictable and poignant.
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Reading Good Luck #1 will lend you smile as you consider our weird world and the endless possibilities it presents.
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I feel that Good Luck is only going to get weirder in its remaining issues, and that's a great thing.
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All in all, Good Luck is a great and weird comic, and seems to be flying under the radar of a lot of comics fans.
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This is a great mix of horror and happiness, the perfect chaser to jump-start the spring comics season.
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This comic remains a melancholy and intriguing read.
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While the cool and collected facade has been shown off all mini-series, it was great to see Chance lose his unflappability at the hint of Batman. Best issue of the series to date.
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Honestly, this comic really captures the spirit of James Bond with a certain gruesome flare, with Garth Ennis and Rapha Lobosco showing the deadly and ruthless side of both Bond and Moneypenny without engaging in camp. This is a surprisingly great comic, a favorite of mine every month.
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This isn't the movie version of James Bond, but rather a version closer to the books, one of Britain's most powerful weapons but someone who is almost sociopathic in how efficiently and effortlessly he'll kill for King and Country.
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While Naomi has made a handful of high profile appearances in other DC comics, her solo title requires little pre-reading to jump into. You can enjoy her first arc or start with this issue. You'll be getting the same quality of comic either way, with a solid blend of superheroics and family angst that make for a very compelling DC Comics story.
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This was a great issue of Naomi, one which shows character growth and provides some answers instead of stringing the reader along.
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This is a fantastic must-read series.
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An unspecified amount of time has passed from the events of Static: Season One, and our titular hero has a new costume, a better control over his abilities, and more of a purpose in his home town of Dakota. The refresh results in a more confident superhero comic, one that seems to be more sure of itself and better paced than its predecessor.
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A very solid issue and one that sets up a big finale next issue.
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Undone by Blood is a great comic, one with nuance, themes of guilt and betrayal, and a story where there are no winners, just losers and even greater losers.
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This is vintage Kirkman at work, and it feels like every issue is building intrigue.
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This was a fun chapter in what's been a slow burn, universe building storyline.
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A pretty cool twist and some excellent world-building this issue.
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I love the slow burn of Action Comics, and the Bendis run has felt like one continuous storyline so far, with this comic marking the beginning of Act II. It makes the coming threats feel much more important, and I love idea of Superman getting involved in spywork in a way that we haven't seen in years.
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I'm strangely excited by this comic, although there remains a lot of questions about this particular mystery.
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It's always fun to dip into DC's weird Judeo-Christian centric cosmology, with Martian Manhunter feverishly explaining that hell exists within the psychic consciousness of mankind, and honestly the comic gave me a fun retro vibe of those edgy occult-driven comics that weren't quite so fringe to be placed in Vertigo but clearly had those vibes.
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All Against All is an interesting new sci-fi series set in Earth's distant future.
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I'm continuing to enjoy this comic, and this is probably its strongest issue yet.
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This is a fun comic and Llovet's explanation about how the comic would have continued makes for an interesting "what if."
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All in all, this is another Amazing Spider-Man issue that should make fans happy.
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This is probably the most no-frills issue of Amazing Spider-Man written by Spencer. There's no new revelations or status quo changes, just a focus on one of Spider-Man's oldest relationships that's totally different, but somehow still the same.
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Honestly, Renew Your Vows is the best Spider-Book on the stands today; it captures everything that makes Spider-Man great while continuing to push the character forward.
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Houser and Stockman's work together cements Renew Your Vows as the strongest of the Spider-Man books published by Marvel right now.
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This is a fun Spider-Man comic, one where the worst misery Spider-Man will experience is an awkward social encounter. Sometimes, it's nice to see Spider-Man not suffer relentlessly.
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Scott Koblish's art remains uneven, but Jody Houser's family moments make this comic a must-read for any Spider-Man fan.
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It's a stirring and chilling comic, one that continues where it's first strong issue left off.
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American Carnage brings in another layer to what's already a complicated series about race and crime.
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American Carnage continues a compelling and uncomfortable story, one of the best crime series on stands today.
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The Bryan Hill and Leandro Hernandez series has done a fantastic job of tackling modern racism in the United States, reminding readers of the uncomfortable reality that white supremacists aren't just one-dimensional monsters.
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American Carnage was a fantastic and poignant read, even if the ending will leave readers feeling down.
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This is a fun comic, even if you're not familiar with the franchise, and really provides a strong showcase for Arkham Horror.
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I loved Ron Garney and Matt Milla's liberal use of Kirby dots, which gave the fights an extra-normal quality you don't usually see in an X-Men book.
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Astro City: That Was Then... Special is a clear indicator that Busiek and Anderson haven't lost a step since the last trip into their brightly colored world of superheroes.
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The creative team of Mark Waid, Jim Zub, Al Ewing, and Pepe Larraz should be commended for creating a storyline that has all the trappings of an old-school Avengers storyline but with a modern day lineup and tone.
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I think this comic is ultimately going to come down to how well the creative team can stick the landing, but it's been an enjoyable ride.
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Barbaric: Axe to Grind continues the grim and gritty fantasy-themed adventure by Michael Moreci and Nathan Gooden.
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A very fun and solid issue of the series that wraps up a few more plot threads from the initial frantic debut of the series.
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The best issue yet and I'm excited to see the comic tackle a new arc.
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Batgirls #13 is one of the series' strongest issues yet.
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All in all, this is a fun story that focuses more on character than plot and works well as a result.
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A very solid issue from one of the best Bat-books on stands today.
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Honestly, this is the kind of Batgirls series that fans have wanted for a while and I think it delivered in spades.
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This is a great jumping in point for the series and sets up a big return that should make every Batman fan happy.
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Honestly, this is probably the most interesting way DC has used the Batman Beyond franchise in quite some time.
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This was a great issue and opens up a new Batman story a low-tech Batman operating in a high-tech world.
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This was a great issue of Batman Beyond, with Terry finally starting to pull himself out of the pit that Gotham has both figuratively and literally thrown him in over the past few issues.
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Batman Beyond ends with a resounding victory and the establishment of a new status quo.
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As always, the highlight of the comic is Christian Ward's art, who brings a very vibrant take to a horror genre usually defined by grays and greens.
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Batman: Dark Age is a fun comic that tinkers with Batman's origin story, but doesn't break it.
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This has become a very weird but interesting series, and I'm curious to see how it plays out as it moves into the second half of its story.
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Perhaps the best compliment that I can give is that this comic doesn't feel like a Batman comic but rather a classic pulp story that still has plenty of mystery left to unravel.
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Last Knight on Earth, in my opinion, was the best Batman comic of the year, with amazing artwork, a weird and psychedelic story, and a firm understanding of Batman's role in the DC Universe.
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I expect that Battlestar Galactica fans will enjoy this series, along with readers looking for some light sci-fi action.
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This comic has my attention, although I think it's success will be how well the monstrous mysteries in the jungle deviate from traditional war stories.
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Beyond the Pale #2 continues to mix the grit and vileness of the Vietnam War with the strange monsters lurking in the jungles.
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It's still a fun issue, if a bit crowded at times, but it does a pretty good job of continuing the story and setting up an interesting arc that could shed even more light on the Jinoo and its source.
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Everything else about this comic"the story, the art, the dialogue"was great, but I personally was a bit frustrated with how the comic was paced.
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While it does a good job of ramping up the anxiety (as we don't quite know whether there will be more casualties or not), it has the potential to obfuscate some the overarching plot.
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While the conclusion felt a bit rushed, I still loved this comic as a whole and I hope that it won't be too long until we see the next generation of Sangerye continue the fight.
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All in all, this is a sad and melancholy comic, which are the kind of comics that Jeff Lemire is best at writing.
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Tomasso and Lemire are like peanut butter and chocolate, a great pairing that should have always been together in the first place.
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Moreno Dinisio's coloring work this issue is really a delight, with bright colors that feed into that sense of security that makes the carpet pull at the end of the issue so delightful.
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There are a few action scenes that feel a little clunky, but otherwise Blackwood continues to be a must read for Lovecraft and horror fans.
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The artwork in Blackwood remains fantastic, as Veronica Fish continues to bring the world of the comic to life with her vivid art painted with a mix of gloomy technicolors.
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Evan Dorkin and Veronica Fish's horror miniseries was one of the best comics of 2018, filled with Lovecraftian horror and plenty of creepy despair.
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While the story is still a bit formulaic at times, that doesn't mean that the crime comic isn't an enjoyable read.
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Bloodborne is the rare video game comic adaptation that actively explores and expands on its source material.
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This is a fun opening chapter to what should be a solid superhero series.
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This comic contains classic Blue & Gold shenanigans and is still a very fun read.
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Great issue and a great end to the maxiseries' first arc.
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Another fun issue.
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Overall, I enjoyed Blue & Gold. It had a throwback vibe to it. While the art was somewhat inconsistent at times, Ryan Sook wraps up the series on a strong note and gives us a happy memory to end Booster Gold and Blue Beetle's latest misadventure on.
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For the first time, Books of Magic doesn't feel like a generic "kid learns magic" story, and next month's trip into the Dreaming could really help open the series up further.
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Border Town remains a poignant and timely comic, one that serves as both vicious mockery and a hard look at the issues surrounding the U.S. immigration issue.
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It was pretty obvious that Briar was being set for a fall given her pontificating throughout the episode, although I think that it played into the subversive nature of the comic so far.
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The misery seems set to continue next issue, although something has to give unless the comic wants to continue to heap more misery on these characters.
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It'll be interesting to see whether the comic continues to torment Briar, and what the increasingly brutal consequences when she inevitably reaches a breaking point.
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By the Horns presents an intriguing fantasy world, a solid story hook, great character designs, and a few big questions that should keep readers invested for a short time.
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If you're a fan of fantasy tales and don't mind some mild gore, you'll enjoy this comic a lot.
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This is a fun issue with some uneven pacing, but I'm continuing to enjoy each issue.
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While the actual inciting incident that leads directly into By The Horns' main storyline is a bit of a letdown, I think it's more than made up for by some great art and an interesting one-off gimmick.
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The Captain America & The Winter Soldier Special fills in a lot of gaps in the previous Captain America arc, providing much more interesting stakes for the coming arc.
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Between this and Captain America: Symbol of Truth, this new era of Captain America is off to a great start.
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Captain America: Sentinel of Liberty kicks off its second arc with Cap bringing in his own allies to fight The Outer Circle. It's a nice reminder that Cap still has plenty of friends who are (almost) as well connected as the grand conspiracy that has been pulling society's strings for the last 100 years.
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Honestly, this might be the strongest issue of the series, following a rather weak previous issue.
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Claire and the Dragons #1 is a foreboding opening chapter for a strange (but good) fantasy series.
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Cover feels like Brian Bendis's love story to the comic industry....while also being an okay spy story.
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David Mack's art is absolutely stunning as always, and even while I felt the ending played into the cutesy-ness that I complained about earlier, it still wrapped up the whole meta-narrative of the comic nicely.
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For better or worse, this comic is geared primarily to the hardcore Critter, to the fan who cares about the deep lore of the series and its intriguing mysteries. While I'm personally interested in what the Luxon and the Spider Queen (a title of Lolth, one of D&D's oldest villains and the traditional goddess worshipped by the dark elves who rule the Kryn Dynasty), I feel that this comic might be a bit too somber and caught up in its own lore to be of real interest to the more casual fan.
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Unlike the last Tales of Exandria miniseries, which was a little too self-serious and confusing, this new issue captures both the feel of the Critical Role campaigns and Artagan himself and this is definitely something that Critical Role fans want to pick up.
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Tales of Exandria attempts to reconcile the more sinister depiction of Artagan in Critical Role's first campaign with his more disarming personality in Campaign 2. The comic does a fantastic job of showcasing his proclivities for lying and harm while framing it from his perspective as a harmless prank.
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A fantastic issue and one that sets up a great finale next month.
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Another solid comic that only requires the scantest of information about Critical Role to enjoy. This remains one of the best fantasy comics on stands today.
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Jody Houser, of course, understands these characters very well, while Noah Hayes' art is absolutely fantastic and really brings the characters (and also many of the subtle facial expressions) to life.
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This issue shows the rest of Vox Machina fighting their way out of the Underdark (after dealing with a nasty monstrous bug. It's the typical Vox Machina violence shenanigans, although the second half of the comic when the team is reunited is when things really start to shine.
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Although there's a bit of dissonance between this issue and the previous two (which focused on an underground fight club), most Critical Role fans should be pleased to see Vox Machina return to more traditional heroics.
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My only issue with Vox Machina: Origins is that I feel the miniseries meandered a bit while setting up this chapter's particular mystery. Part of that is the nature of the actual Vox Machina campaign, but I still feel that parts of the Vox Machina campaign can be condensed a bit to get to the meatier parts of the story.
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This was a fun issue that highlights how not every problem needs to be solved with ample violence and also nicely sets up a change in locale.
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I'll admit that the actual introduction of Percy and his reasons for joining are a bit weak, but I don't think that's as much of a comic issue as it is just the typical problem with introducing new D&D characters in a campaign.
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There's still tons of great character moments and most importantly the feeling that Vox Machina's adventures are just getting started.
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The comic succeeds largely by understanding the relative strengths of the video game but not recreating it beat for beat, which ultimately provides fans something they can enjoy even as the comic stands on its own two feet.
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At times, I felt the comic could have moved a bit slower as the cast keeps growing, but ultimately the comic is still enjoyable even if you aren't a fan of the game franchise.
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This is a fun issue and sets up an interesting new status quo for Ghost Rider, which hopefully lasts past "Damnation".
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Charles Soule finds a way to balance city politics with superheroics as Murdock struggles with finding the best course of action to protect his city.
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Charles Soule and Mike Henderson has taken readers on a crazy ride, one filled with demons, warrior priests with jetpacks and plenty of strange twists and turns. On one level, I don't know if all of the zaniness is the best fit for a grounded hero like Daredevil, but honestly it was fun to see what insane stuff would happen this issue.
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It really feels like a soft reset for the series, a reminder that Daredevil functions best when fighting mobsters and dealing with street level problems.
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Sure, the issue's only truly tense moment is when a dog gets held hostage at gunpoint, but Soule keeps the humor level somewhere between bemusing and pure slapstick, and it really works.
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There's a frantic feel to this issue, as if Matt knows that his time is running out. And while there's sure to be a twist to the whole "Death of Daredevil" arc, Soule and Noto manage to make this comic feel like the end might actually be coming soon.
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This is some of Soule's strongest work yet, and I'm looking forward to the next chapter.
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In the end, Daredevil feels most at home in a courtroom and, more broadly, in New York, and Soule found a way to put Daredevil back in both.
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This is a strong debut for Zdarsky and Checchetto, and I'm curious about how Daredevil's story will continue in future months. I'd love to see a story that focuses on tormenting Daredevil in different ways, and it looks like the new creative team will deliver just that.
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Chip Zdarsky and Marco Checchetto's fantastic run on Daredevil continues as the Man Without Fear finds himself with a strange new ally: the Punisher.
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Allwinter continues with a pair of quick-paced chapters, with Slade encountering an old flame and his wayward daughter while becoming entangled with the strange boy Alec (who brings a dose of literal color in an otherwise grey-toned world).
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This lacks some of the shocking twists of previous issues and I feel like the comic isn't doing as good of a job of establishing various DC characters as unique from their mainstream counterparts. Still, a fun issue nonetheless.
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The comic moves a step away from the dark fantasy genre it had embraced up until this point and I think that may turn some readers off.
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Art is gorgeous as usual and we're approaching what should be a good finale.
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This issue mostly serves as a way for the collective cast to take a breath and take in and react to all the twists they've experienced over the past few issues. It's here that Taylor's writing really shines, as he finds ways to showcase his understanding of the DC characters even when they're in new and radically different environments.
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This is a weird comic, but in the best possible way.
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This is a comically ultra-violent comic, but one that also uses extra-normal circumstances to examine the toxic effects we can have on our lives.
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If you want a "classic" Batman story, I suggest you give Detective Comics a read.
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It's not a perfect issue"the ending wraps up a bit too quickly"but I really love stories that examine Batman's relationship to both Gotham City and his own Bruce Wayne persona.
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While not filled with earth-shattering revelations or teases at the next big plotline, I enjoyed Detective Comics as an isolated look at Batman's current state of mind and his new status quo without Alfred.
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It's a shame that we couldn't get this bold new art direction at the beginning of the current arc, but I'm suddenly much more excited about the mystery surrounding the Black Casebook.
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Both are good comics and show that the Batman line is recovering nicely from the bloated "Joker War" event.
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Honestly, the Huntress story is the reason to read this comic"Henry's art is amazing and Tamaki delivers one of her best superhero outings to date.
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Props to Mariko Tamaki for trying something different with Batman, as this storyline has been a hoot.
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Detective Comics #1038 shows that the corruption of Gotham City can't be solved by one new mayor or a new status quo.
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Overall, I feel like Detective Comics is really trying to do something different with the Dark Detective. Not every story beat and idea necessarily works, but they certain deserve props for not falling into familiar patterns.
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This is quietly one of DC's best comics and is continuing to reinvent Batman in a way we haven't seen in quite some time.
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After a shaky opening chapter, I'm enjoying this storyline more this issue.
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Detective Comics' two stories picked up steam this week.
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Detective Comics is laying out a real mystery for Batman to solve, one that seems to be roping in both allies and enemies.
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Another solid issue of Detective Comics that frames Batman's familiarity with Gotham as a weakness instead of a strength.
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Ivan Reis joins Rafael Albuquereue on art for the primary story and while they surprisingly mesh well, there's still a... scratchiness to the art that doesn't feel right. Whether that's a deliberate choice or simply an inker trying to smooth down two different art styles, it makes the story feel a bit grittier.
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Ram V is taking readers on a wild ride, although the comic is hurt somewhat by using a team of three artists who can't quite fit inside a cohesive style.
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It's a compliment when I say this might be the weirdest Batman run published in recent history.
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This is a great series and a fun and weird ride. Definitely, an unforgettable Batman story.
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The key to this issue is the unceasing march towards inevitability, there's a very deliberate cadence to this comic that plays upon the earlier concepts of the opera and the danse macabre of the initial arc. It gives the comic an almost unsettling feeling that shows how, even at his stronger, Batman is utterly outmatched.
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Detective Comics #1073 sets up a dangerous new Gotham, one that isolates Batman even further and whittles away his remaining allies, while placing the Orghams as a fundamental threat to the city and its populace.
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My only real complaint about this issue is that it took me a minute to remember what happened in Detective Comics prior to its "Night Terrors"-induced hiatus, which really seemed to sap this arc of some of its momentum.
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Francavilla's art is much more grounded than the past surreal takes in past issues, but I think it's a good match with the standalone story that Ram V tells with this issue.
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This new arc seems like a sharp left turn from the dark operatic previous arc, which could be quite interesting.
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This is a very engaging issue and the one-page reveal early in the issue hints at even more chaos to come.
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The third act introduction and focus on Dr. Hurt is interesting, although it feels somewhat late in this long-running arc to bring him in and play anything more than a representation of the devil on Batman's shoulders.
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Honestly, this issue didn't do anything revolutionary or spectacular, but it got a "Hell yeah" from me simply because it felt like a return to the classic Batman after a lengthy breakdown of the character and the concept.
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Detective Comics #1085 shows the darker and more focused Batman in action, not only with his brutal fight against the Orghams now fully underway, but also with Batman taking steps to counter their supernatural powers.
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The B-story featuring Batman and Azrael is a particular highlight, in part due to Francesco Francavilla's fantastic artwork.
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Both stories are a great catharsis for fans mourning Alfred's loss, which has only been tangentially dealt with in Batman's main series.
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This comic seems to get better the further it gets away from the wider Valiant Universe"when it's a tale about a boy, his best friend, and his murderous multiversal counterparts, it's quite sweet. When it gets bogged down with all of the other Valiant characters, it struggles.
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At times, the pacing of the book is uneven - there's a dragon attack that's a bit muddled and comes a bit out of nowhere. However, those flaws shouldn't deter anyone from reading the comic, which remains a very fun read.
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The characterization in this series is top-notch, although the big "twist" of the issue requires some knowledge of D&D lore...or at least the current adventure.
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All in all, I like how this comic feels like a very authentic D&D experience, with a heavy focus on camaraderie.
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A very solid introduction, and I'm excited where the story goes next.
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At the Spine of the World concludes with a fun and action-packed finale. It's the sort of fluffy ending that you like out of popcorn action comic like this, with lots of near-death moments, some thematic plot points coming full circle and just enough dangling plot threads to set up a potential sequel.
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Jim Zub deserves high praise for his "Evil at Baldur's Gate" miniseries, which showcases the fun and drama found in D&D in a comic book form.
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This is a fun introduction to the famous City of Doors and captures the weird energy of the original Planescape campaign setting through the eyes of an amnesiac adventurer who literally knows nothing about himself besides his name.
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In this issue, readers discover that Finder, the supposedly dead protagonist from last issue, has returned in a surprising fashion. It's a fun twist on an aspect from this summer's Planescape adventure and it adds some interesting intrigue here.
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One of Jim Zub's strengths working on these D&D comics is his ability to draw out the uniqueness of each setting he visits.
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Another fun issue and I'm interested to see what happens next.
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All in all, this was a fun series that helped showcase a fun D&D campaign setting and tell a story that I think Jim Zub has wanted to tell for years, given that it ties into a comic from nearly five years ago.
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The only disappointing part of Infernal Tides is that it's due to end with next issue.
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While Zariel's appearance was a bit too brief for my liking, this finale issue does a great job of setting up the future while also bring this series to a fun, explosive end.
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This continues to be a fun adventure, even when large parts of the comic seem to be moving characters from one threat to the next.
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Overall, this is another great chapter of a fun D&D romp.
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I appreciate that this series is willing to show the danger of D&D " between the events of last miniseries and this one, things keep getting more and more harrowing for our heroes.
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A fun conclusion to a fun D&D adventure.
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This remains a captivating story, one that uses the Ravenloft lore as a foundation but seems willing to explore new ground at the same time.
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This was a good D&D series, one that tried something different with the franchise then the usual fantasy fare.
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It's still too early to see how Echolands' story will play out, but this is definitely a comic you should try based on artwork alone.
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I'm content with just letting the creative team of JH Williams and Haden Blackman do their thing and enjoy this very trippy, very experimental series purely on the value on its art.
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I feel there needs to be a little payoff soon in regards to the mythology of the series in relation to the meta-aspects of it all, but this is still a very fun read.
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If you want to try a different kind of shared universe, Energon Universe 2024 Special certainly delivers a strong case for its featured comics. I'm curious as to how Skybound will approach this world in the long term, but this one-shot is all about intrigue and possibility, which is perhaps the strongest sales pitch you can make for a still nascent shared universe.
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All in all, this is a fun and ambitious comic and succeeds far more often than it fails.
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Although this series never had much of a chance to find an audience, it did show that the Exiles could be more than "just" an X-Men franchise. Saladin Ahmed gave his run a unique voice, and I've loved Javier Rodriguez's fantastic artwork.
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For the time being, we'll call Fables #151 a happy return to a story with a rather definitive ending. Fables are immortal after all, so we shouldn't be too surprised that the story goes on after "ever after." Whether that story is any good remains to be seen, but this new Fables arc at least shows some promise.
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It's still a good read, but the slow build suggests a longer arc is coming.
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For the most part, Fables hasn't lost any of its quality, although it's still unclear how all these dangling plots are meant to collide even a quarter of the way through the new revival.
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It's certainly brings to an end the rather slow pace of the past few issues and should make the remainder of the series a lot more exciting.
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One of the strengths of Fables has always been its quick escalations after a relatively leisurely pace and this arc continues that trend in fantastic fashion.
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While I enjoyed the previous end to Fables, this was a fun return that was a bit breezy at times but still felt like the classic series at its most fun.
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Friendly Neighborhood is building a niche separate from the main Spider-Man series, but it might need more than solid characterization and a moderately interesting story to keep readers interested.
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Thank you Tom Taylor for writing such a great Spider-Man comic.
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It's a great comic book, although we'll see how the upcoming arc involving Aunt May's cancer goes.
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Friendly Neighborhood Spider-Man #6 is a touching standalone issue that cleverly shows what Spider-Man does on one of his days off.
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While I was a bit leery of the whole "I'm the one who takes care of Spider-Man while he takes care of the city" angle, the story stayed away from stereotypes about supportive spouses and gave fans a reminder how great Mary Jane is.
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It all comes together for a very entertaining story that feels a lot like a classic Spider-Man tale from an earlier era.
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While not a groundbreaking issue by any stretch, this is still a solid issue for any Spider-Man fan.
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While this series was uneven at times, I did enjoy that the comic ultimately tried to portray the GCPD institution as fundamentally flawed while also showing the struggles of trying to reform it within.
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This remains a very experimental comic, but I'm enjoying what the creative team is trying to do here.
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At times, the series threatened to lose itself in all the esotericism, but ultimately this was a fun and poignant story about four kids who for once were in the right place at the right time after a lifetime of bad luck.
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While the artwork of Hexagon Bridge remain as gorgeous as ever, the pacing issues from the first issue remains a problem.
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Hexagon Bridge ends not with a bang but with a quiet and thoughtful explanation.
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Sandman fans should enjoy the last scene and the introduction of some fan-favorite characters, while everyone else should enjoy the rich lore and spirits brought to comic pages for the first time.
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While the comic moves at a slow pace, it feels more significant and deliberate than King's previous mystery comic Rorschach. Smallwood's art is also fantastic " the bright coloring (which invokes the bright superheroes of the 1980s and early 1990s) really contrasts with the murder mystery plot of the comic.
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Greg Smallwood's art remains the highlight of the series, but the writing is back to being fun... at least for now.
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How Chance can withstand a psychic assault is slowly revealed throughout the issue, with a convenient flashback. I enjoyed the jarring shifts in focus throughout the issue and how well the comic slowly reveals what's going on. The artwork remains gorgeous.
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This is a solid start to the second half of this series, one of King's best works since Mister Miracle.
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It's fair to say that this issue is the Ice spotlight, with Ice's post-resurrection motivations being dug into in more detail than what we saw in the second issue. To be honest, the duo-chrome coloring in the flashbacks were a bit of a detriment, I felt like they actually muddled the flashback sequences a bit.
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Honestly, I think that's what made this ending stick in a way that other Tom King-written series have failed to do the comic feels like it headed towards its natural conclusion in a bittersweet way.
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A lot of the events in the comics feel very relevant to the modern day and provide a more "for the people" style origin story for Fox. In some ways, this direction for Batman reminds me of Superman's reboot during the New 52, bringing him in line with his activist roots.
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This new Batman is a fantastic reframing of a protector of Gotham City, one that comes not from the ivory tower but rather the corners of the city that people would rather forget.
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I trust Ridley more than just about any other superhero writer to "do the story right" but it's hard to tell if this issue is supposed to make me feel uncomfortable or if it's just my unease over seeing superhero comics botch these types of stories too many times in the past.
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One thing I liked about this new Batman is that he seems to inspire instead of "strike fear" in the hearts of other, bringing a working class take on the superhero.
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While Jace may indeed be a suck-ass Batman, that moment has humanized him more than the previous seven issues have.
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As Jace settles into New York, I feel like this comic continues to get better.
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While I was hesitant about another pro-cop Batman book, I think that the creative team has shown a willingness to take risks and they paid off this week.
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I am enjoying this comic, but I feel that its use of New York is by far the weakest part of the series.
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If you enjoy weird horror, this is definitely the comic for you.
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If you like weird and creepy, Imaginary Fiends is the comic for you.
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The big reveal this issue was great, one of the better twists I've seen in a comic in months. It was a great way to end a fun opening arc, and I hope that we see more Imaginary Fiends in the coming months.
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This is a solid comic that plays no part in the larger "Infinity Wars" event, but is still a fun read for fans of the Spider-Man or Moon Knight characters.
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Injustice 2 continues to be a surprisingly fun comic despite its rather dark plotline and setting.
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This is shaping up to be an epic storyline, and I'm guessing a few heroes aren't going to make it out of next issue.
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It strains credibility that a super-android devoted to destroying mankind couldn't kill a single superhero during its brutal assault. Otherwise, this is a solid issue and continues Injustice 2's solid overall run.
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This is a nice standalone issue that illustrates the differences between the Injustice 2 and main DC universes, but readers might want to stay away if they're not a fan of violence to animals.
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While most issues of Injustice 2 are action-packed slugfests with shock deaths and gore, this issue is a lighthearted romp featuring Booster Gold, Blue Beetle, and the Titans.
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If you were unhappy with how Booster Gold was treated during his recent appearance in the Batman comics, you'll probably love his depiction in Injustice 2.
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Injustice 2 is one of the few comics that leaves fans wanting more every issue... even though it comes out (in print) on a bi-weekly basis.
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Injustice 2 remains one of the best DC comics on the stands today.
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It's a somber ending, but one that pays homage to the character and their most defining traits.
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In a comic series filled with endings, this might be my favorite one yet.
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There's only one more issue left in Injustice, but we're sure it's going to be a great one.
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While this might not be flashiest ending for the mostly fantastic Injustice 2 series, it's the right one; one that captures both the true relationship between Batman and Superman and its perversion here.
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This James Bond comic continues its blend of brutality and humor, with great effect.
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There's plenty of gruesome violence mixed with humor this issue (an Ennis class), but ultimately this comic brings the story to a satisfying ending.
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This is a very compelling issue, one of the strongest of the miniseries.
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This is a fun issue, one that plays on the whole "look into the future to get glimpses of upcoming arcs" trope that we see in comics, but gives it a creepy and more sinister undertone.
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Justice League #21 is very much an explanatory issue, as most of the mysteries behind the peaceful faux-future the Justice League finds itself in are explained in detail.
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This issue is great for those struggling to keep up with Snyder's growing cosmic story and helps lay the table for what's sure to be a couple of big Justice League arcs.
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Justice League #24 pushes both Batman and the Justice League in interesting directions.
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Justice League #25 is a dense and at times rushed read, but it does a great job of setting up the immediate future of the DC Universe.
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While the focus remains on the core Justice League team, this suddenly feels like a much bigger comic.
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It's a fun issue that nicely tees up the upcoming "Justice/Doom War" event and provides fans with one last smile before things likely explode.
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This arc feels huge and I'm very excited to see how it progresses in the coming months.
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Justice League #31 contains a lot of fantastic moments, along with a possible explanation as to some of the...weirdness involving the various iterations of DC's future.
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The pacing still leaves me wanting more, as I feel that none of the arc's many moments are being given time to breathe, but this is still a very fun issue.
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This is still a fun series"a summer blockbuster with some pacing issues that's still great for popcorn viewing.
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I've had my criticisms of the Justice/Doom War, but this issue of Justice League was quite good"probably the best issue we've had in a long time.
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The comic is surprisingly free of any of the usual Bendis ticks"the main story is neither overly decompressed nor does it feature an abundance of Bendis's usual dialogue hallmarks. As a longtime follower of Bendis's work, it was a bit disconcerting, and it seems like a deliberate choice to lean away from some of his more divisive script choices.
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This comic seems to be flying under most people's radars, but people should give it a read before the current arc comes to its conclusion.
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Dan Abnett and Will Conrad give this issue an appropriately epic feel, but I really hope that the last page is somehow a misdirect. Otherwise, this issue is going to leave a bunch of fans really upset.
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This issue works (mostly for reasons which spoil the big twist of the issue) and I'm excited to see how long the new status quo lasts. More Dex-Starr is always a good thing in my book.
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This series really is the spiritual successor to Abnett's work on Guardians of the Galaxy, and I hope that people give this new misfit team a shot.
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Dan Abnett continues to dust off D-list cosmic characters in his action-packed revamp of Justice League Odyssey.
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Justice League Odyssey remains one of the best superhero books available today.
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This is still a great comic series and it'll be interesting to see where it goes next.
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It's a solid issue, although I'm curious to see if Cruz will continue to hop through the timestream or if she finally catches a break.
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This has quietly turned into one of DC's finest jewels and I hope that it lives on past its current arc.
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This remains the strongest of DC's team titles, a misfit team of Justice Leaguers pit against Darkseid at his strongest.
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This was certainly the best Justice League book of the last year and I will miss it.
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King of Nowhere #1 is an intriguing opening chapter that blends the surreal and the depressing.
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King Thor continues its grand finale of Jason Aaron's Thor run with a miniature encapsulation of the complex relationship of Thor and Loki, who were fighting at each other's throat last issue.
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This is a strong opening issue, and should hook readers in for at least a few more issues.
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This is still a great read, and I'm genuinely looking forward to the next installment of this spy tale.
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It's stuff like this comic that makes me interested in Magic lore, despite my hesitance to fall into another hobby.
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Man Without Fear continues its slow stripping down of Matt Murdock, with different parts of his supporting cast coming to terms with his decision to quit being Daredevil.
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While I can't say that the new Marvel Knights comic quite reaches the heights of Bendis' Daredevil or Alias, this is still a fun read, especially for fans of Marvel's street-level heroes.
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This is probably the best issue of Marvel Knights so far, capturing both the spirit of the original Marvel Knights line while creating something new in the process.
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This series gets more fun with each issue, and hopefully it leads to the revitalization of a wider Marvel Knights line.
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This is my favorite issue of Middlewest yet, and it's the first that doesn't try to sell the reader on how strange everything is.
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I'm still waiting to hear some explanations about this world, but the confusing bits seem a little less important in this issue.
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If you like Midst, you'll love this comic; and if you haven't given Midst a try, you may want to after reading this.
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I'm not as high on the King/Gerads Mister Miracle series as other reviewers, but this still was a very enjoyable read.
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The finale of Mister Miracle provides plenty of resolution to readers but few answers.
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Rafer Roberts and Kristen Gudsnuk are building a great fantasy world, a true Modern Fantasy tale.
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The change in tone isn't a bad thing, but fans of the series might be a little disappointed at the mostly earnest ending. Still, this is one of the stronger fantasy comics of 2018 and a must-read for fans of that genre.
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It was a fun team-up that followed most of the standard beats, but managed to not feel tired at the same time.
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Mystik U #3 is a great finale to a fun and unique DC series, or at least its first chapter.
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Naomi feels very much like a Brian Michael Bendis comic, for all of its strengths and weaknesses. That's probably unfair to co-writer David Walker, who is a fantastic writer, but the comic has all of Bendis' typical scripting hallmarks.
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In some ways, I am enjoying Naomi: Season Two a bit more than Season One. There's a much more tangible mystery for Naomi to solve, with Dee disappearing and having a much darker past than she anticipated.
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The story continues to move at a snail's pace, but at least we are given some answers this issue, even though they don't have much context. I'm enjoying this series, although I feel it needs to move a little quicker soon.
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Naomi's origin is finally revealed, and it's an interesting one with unclear implications on the greater DC Universe.
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Not All Robots #2 continues its farcical look at the robot revolution, this time pushing the metaphor between the robots and impotent white male rage a little further.
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Old Man Hawkeye somehow feels even more tragic than Old Man Logan, which is impressive given the events of the latter.
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Old Man Hawkeye is turning into a very tragic story, one filled with a bit more heartbreak and nuance than its Old Man Logan predecessor.
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This is another solid issue of Old Man Hawkeye -- the stakes continue to get higher as old enemies converge on him.
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Ethan Sacks and Marco Checchetto continue to weave a powerful and haunting prequel to Old Man Logan, one that's handled with a bit more nuance and tragedy than we ever saw in the original storyline.
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Sacks found a way to bridge the gap between the real Marvel Universe and the world of Old Man Logan while also distilling what makes Hawkeye so great and frustrating.
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Out #3 is the series strongest issue yet, as Nocona is sent in to converse with a vampire under Nazi's control.
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Pathfinder's strength is its unique and memorable lore and it's great to see one of its comics truly capture one of the reasons why thousands of players love the tabletop game.
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These Pathfinder comics are a lot of fun, solid fantasy comics with plenty of nods to the world of the popular tabletop RPG.
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This issue represents a solid example of interparty conflict in an RPG, albeit one that could easily devolve into violence.
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This was a fun one-shot and a nice window into Marvel's not terribly distant past.
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If you're a Rick and Morty fan, you'll enjoy this comic.
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The creative team finds a great balance between showing their love for the Lovecraft stories while appropriately skewering the Cthulhu mythos and showing their disdain for Lovecraft himself.
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Rolled & Told is definitely intended for readers knowledgeable about D&D, but there's enough there to intrigue newcomers to RPGs as well, especially if you're into classic fantasy.
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The origin story lacks most of that (it mostly shows her growing up in the woods with her golf pro/tennis pro parents and younger brother) but still has some funny moments. This is a cute character with a unique voice and wonderfully drawn by Ron Randall.
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Luckily, the comic is pretty fun to read, even if you don't know anything about the game.
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Sea of Thieves #2 offers just about everything you'd expect out of a pirate comic. Naval battles, backstabbing, and even a tease of the supernatural - Sea of Thieves has it all.
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The events of this issue add a new wrinkle to the series, especially if the deadly cliffhanger sticks.
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This has the potential to be Moore and Reppion's best Holmes story yet.
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I liked this issue a lot, as it showed how a "normal" person could survive during the events of G-Day and show Lilly as a person caught between two worlds.
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This issue is almost too packed with surprises, but I feel like there's some great payoffs for longtime readers of this book. Kudos to Robbie Thompson for pulling off a surprise that few readers will see coming.
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There's a fine line between the borderline self-deprecating humor Peter Parker's known for and being flat out obnoxious a la Deadpool, and Sean Ryan manages to find the sweet spot.
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This is one of Spider-Man/Deadpool's most meta issues yet, and one of those experimental issues that sets this comic apart from other Marvel books.
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If you like the darker side of Spider-Man, you'll enjoy this new limited anthology series.
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This is the perfect tie-in comic for a video game - something that doesn't try to recreate the experience of the video game, but instead uses an existing world as a backdrop for an interesting story.
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This is still a great comic, but not necessarily one that's breaking new ground.
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Nikolas Draper-Ivey's art is a bit more uneven in the second issue. There are parts where it looks great, and there are pages where it almost looks unfinished. Still, I think it works due to a more consistent layout that conveys the story a bit better than in the first miniseries.
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While the comic meanders a bit with subplots at times, I think this comic feels both authentic and new, and it's been a fun superhero series so far.
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A solid superhero comic.
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A big step up from the previous Static series and a good sign for the future of Milestone.
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I like how Will's irrationality is driven by his grief over Bob's death and that the comic aims to add mystery and intrigue without relying on the Upside Down or other paranormal weirdness.
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This wasn't a consequential comic, but it does fill in the gaps between Stranger Things seasons and really keeps in the spirit of the hit Netflix show.
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I thought this was a fun comic that captures the spirit of friendship found in the show and should be a good read for anyone who misses the Stranger Things characters during their extended hiatus.
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A great comic, one that syncs up perfectly with both Stranger Things and the D&D experience.
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It's a surprisingly deep comic, one that clearly comes from a place of love for D&D.
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I appreciated how the comic showed the Stranger Things gang in a relatively drama-free moment, being kids and using D&D to grow and understand one another.
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This was a surprisingly good mini-series, one that used Stranger Things (the franchise that helped spark D&D's resurgence) to demonstrate the beneficial values that playing any sort of tabletop RPG can have for a group of friends (or strangers).
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Strange sci-fi comics that aren't solely about being strange are a rarity in today's monthly comics industry, and comics that have a wholesome heart are even rarer. Strayed is both, and that's what makes it a must-read.
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Like other Bendis stories, this issue feels a bit decompressed, but it's still the best Superman we've read in years.
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There's a two-page spread in Superman #11 which shows one of the coolest Superman scenes I've seen in years.
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While this book remains the weaker of the two Bendis' Superman books due to some weird pacing issues, but it's still fun to read and is building an intriguing mystery about the destruction of Krypton, a mystery no one thought they'd want to read about.
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My main concern is that the ramifications of this arc will overshadow the mystery that mainly drove it"I want to see some resolution to this Rogol Zaar arc since Bendis has pushed it for almost a year"but I love that the ramifications of this arc to both the Superman line and the wider DC Universe.
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It took way too long for this arc to end, but it brought in a ton of really interesting ideas that could set the tone for the next few years of a lot of DC books.
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Superman #16 is a nice standalone issue that serves to reinforce one of the more important DC relationships of the last few years"the friendship between Jon Kent and Damian Wayne.
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It's interesting to compare this issue to Superman's last "outing" as Clark Kent, an event that eventually led to Superman changing his name, shaving his head, and becoming a firefighter. I don't know whether this is the influence of Brian Bendis on the story or just editorial reacting to that (quickly discarded) last change, but this issue shows Superman and his allies handling things with a much softer touch, one that feels much more "Superman" than before.
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This is an interesting issue, although it serves mostly to set up a new arc than deliver any stunning revelations on its own.
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This is another fun, but not exactly groundbreaking issue of Superman that continues a string of solid issues.
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All in all, a solid start to a new age of Superman.
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Overall, this is a fun comic that delivers a touching moment for readers.
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This is a fun series, one that gently toes the line between the familiar and new, and I look forward to seeing the next installment in a few months.
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His dialogue struggles at time, it's stiff even for a fantasy series, but this is still a solid second issue that sets up a big world and an interesting take on a classic fantasy tale.
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Writer Louis Southard and artist Dean Kotz deliver a strong opening issue, bringing a fun spin on the hardboiled detective that's perhaps not too unique but is still fun to watch as he stumbles through an intriguing new case.
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All around, this is a must read for history buffs and lovers of cartoons.
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After just one issue, it's hard to tell exactly what The Department of Truth is trying to say. It has picked a sadly relevant topic in our current moment, and it doesn't seem to be afraid to actually dig a bit instead of treating conspiracy theories as harmless fictional fodder.
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I admit that I've been critical of the Department of Truth and its rather piecemeal approach to the discourse around conspiracy theories. So, I'll just straight up say that I thought that this issue was the strongest one of the series.
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I'm glad that the comic is paying off some of its storylines and this is easily one of the best issues of the series to date.
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There's some real clarity of purpose in this issue, and I think this is the first issue that really provides a clear and impactful statement to its readers.
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I like that the comic is starting to really push a bit with its story, re-centering the comic around Cole and the effect that being immersed in conspiracies is having on his personal life.
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Well, The Department of Truth finally did something unexpected.
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This is definitely one of Cullen Bunn's creepiest comics, something that mixes body horror and paranormal violence together in a very unique and terrifying way.
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The Good Asian reaches a violent climax as Edison Hark confronts the killer of his adoptive brother. Things escalate in a hurry, and things get a little hard to follow at points.
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The Good Asian starts to piece together some important parts of the puzzle, following the explosion that left both Edison Hark and the mysterious Hui Long killer dead.
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I'm excited to see the next Edison Hark adventure and I think overall The Good Asian was one of the better noir comics we've had in quite sometime.
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The Last God becomes a lot more readable thanks to a new coloring style.
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I enjoyed that the comic finally shifted from the sins of the past to the more intense threats of the present. Facing corrupted giants and worse threats is much more exciting than a litany of flashback scenes pounding in the same theme over and over again.
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The Last God #10 puts together a lot of the scattered pieces between the past and present, explaining how the titular god Mol Uhltep returned to power after its alleged defeat 30 years ago, and how the god's original defeat was tied to the disappearance of the final member of the original champion's power.
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The Last God ends in a suitably epic fashion, with plenty of death, danger, and shock to go around.
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This is solid dark fantasy and a strong world-building issue from guest creators Dan Watters and Steve Beach.
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The Last God: Tales From the Book of Ages is a surprisingly dense sourcebook with tons of resources to build a D&D campaign set in the world of Cain Anuun.
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This isn't a fun read, but it's still a worthwhile one.
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While epic fantasy sometimes struggles in the comic format, this type of story is perfect for comics. It helps that Sam Beck's art is absolutely breathtaking"it's warm and expressive but not cartoonish at all.
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The Prisoner is just the sort of property that Peter Milligan was born to write, and I can't wait to see what happens next.
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The Terrifics isn't the best DC comic on the stands, but it's quickly turning into the most fun one.
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This is one of The Terrifics' best issues to date and it'll be interesting to see how Tom Strong is integrated into the wider DC Universe.
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The Terrifics has really spent a ton of time showing how much the superheroes dislike each other, but it's nice how this issue establishes how much of their own self-worth is wrapped up in being superheroes and with each other.
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The Terrifics finds new life this issue; let's see if they can keep up the positive momentum.
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If you've stuck around with the Terrifics for this long, you'll really enjoy this issue, but I'm not sure if DC plans on keeping this book around for much longer even though it seems to finally be coming into form.
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All around, this is probably the best issue of The Terrifics to date.
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This is a solid first issue, and hopefully the Unstoppable Wasp series gets a long and happy second life.
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The Unstoppable Wasp is one of the most adorable comics on stands right now. It's an unapologetically happy comic that revels in its bounciness.
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The first two issues mostly presented Nadia as a chipper and perky teen living a very fulfilling life. With all of that damaged in an instant, it will be interesting to see how the eternally positive Nadia reacts in the next issue.
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While it's strange to see a Nadia that's not bright and chipper, this dark shadow gives her some real depth and reminds readers that she's more than just a perennially bouncy teen.
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Unstoppable Wasp takes a very interesting approach to bipolar disorder, a mental disorder often stigmatized and misrepresented in media.
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Unstoppable Wasp #7 is a sweet issue that re-establishes Nadia, her friends, and her extended family.
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It feels like this book has so much story left to tell and I don't know if it can balance showcasing its amazing characters and wrap up everything in a satisfying way.
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Unstoppable Wasp #10 closes the latest chapter of Nadia Van Dyne and her adopted family in a typical upbeat fashion.
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This is an intriguing comic, and I'm looking forward to how the series moves forward.
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The end of the issue is a bit annoying, but it's always possible that it's some sort of misdirect that sets up a different path next issue.
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It's solid superhero work and excellently sets the stage on what should be an intriguing meta-level premise.
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Fun start to a new arc.
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I enjoyed this issue more than past issues of Transformers: Galaxies, and I'm glad this series is bringing more personality to some of the more obscure Transformers.
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In the end, this is a fun (if unimportant) issue, one that most Transformers fans will enjoy.
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This is a solid first issue with great art that deftly bounces between two worlds. Del Rio is an instantly intriguing character that clearly has more to him lurking under the surface, and I can't wait to see how this series plays out.
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This month's Undone by Blood is a brutal comic. There are no heroes here - just characters in bad situations trying to survive however they can.
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United States vs Murder Inc. has a strong first issue and my only complaint is that it ended way too quickly.
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There's a lot to love about United States vs. Murder Inc. #2. It's a gritty, violent crime story, the type of story that Brian Bendis has always excelled at.
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It took five issues, but United States vs. Murder Inc is finally finding its footing and becoming another Bendis/Oeming classic.
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This is a good sci-fi comic, one that just happens to share a space with some well-known robots in disguise.
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It would be very easy to make this comic about the big licensed properties that it's tied to, but Kirkman is focusing on character first and that's why it's a winner.
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Void Rivals sees Darak and Solila finally come to an understanding of sorts, as the void rivals (see what I did there?) show their respective skills and mutual respect as they battle their way to safety.
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This book has lots of fun moments, weaves through several books' worth of continuity, and stays accessible to new readers.
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You don't need to know anything about Warhammer to enjoy Deathwatch, as long as you like watching dudes in mech suits shoot up evil-looking aliens.
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Snyder and Capullo are a creative team capable of delivering a home run, but they have also delivered some self-indulgent "all sizzle, no steak" stories. It's a bit early to tell which way this comic will go.
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My main criticism of We Have Demons is that the comic feels a bit juvenile at times - there's a bit about how cursing is the language of demons, but (and I say this as someone who curses like a sailor) there's an almost eye-rolling amount of cursing in this issue. Outside of that minor complaint, this is a fun comic that doesn't take itself too seriously
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There's definitely potential for this comic to grow and be more than a mostly mindless action tale, but it's still a good read in its current state.
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Jon Davis-Hunt's artwork is a delight; it's very clean and helps keep an issue filled mostly with talking heads engaging to look at.
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This continues to be a great comic, even for those who aren't familiar with the Wildstorm universe.
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The Wild Storm is almost two-thirds of the way through its 24-issue run, and it still feels like Warren Ellis is playing three-dimensional chess with its readers.
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This issue felt like a big deep breath before the final act of Wild Storm gets under way.
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Honestly, this is one of the better Image books I've read in quite some time, and one of the best comics reboots in recent memory.
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The full power of the Witchblade finally makes an appearance in Witchblade #5.
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This series' strength isn't in the action sequences (honestly, the fight scenes are largely underwhelming) but in the strong characterization of Alex Underwood and her supporting cast.
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As long as this new Wolverine series keeps showing Wolverine's struggles to fit in the Dawn of X world, then it might prove to be more interesting than other solo Wolverine outings.
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There are bits where the comic drags a bit, but I thought that this was both a great look at reconciling the problematic nature of history with what we were previously taught and also a great introduction to a version of Themyscira that appears to be continuing in 2022.
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While there are still some lingering narrative issues (this month's chapter just...ended), it's still a big improvement from the opening chapter.
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This may prove to be a divisive issue, and your enjoyment of the comic may depend on how well you can handle ramped-up Mojoverse nonsense.
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I appreciated that the comic delved a bit deeper into Krakoan culture and brought back a bunch of the Academy X characters to celebrate Wind Dancer's return and re-powering.
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X-Force has a distinct tone, both in terms of plot and art style, and that makes it much better than most of the other X-Men books on the shelves today.
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Let's face it, Year of the Villain #1 is partially a marketing guide for future comics, and it does its job very well.
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While some of the worldbuilding remains disjointed, we do get a little more explanation of what's going on. I'll also note that Michael Dialynas's coloring and lettering are delights makes this comic a fun read.
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This has become a very solid comic over just a few months and I can't wait to see how it progresses.
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Great artwork, a fun story, and a timely message makes this a fun comic for kids.
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The comic feels very raw and primal despite its sci-fi theme, helped along by the unique art of Caspar Wijngaard. It makes for an interesting contrast, one that hasn't fully succeeded through two issues but still has plenty of promise.
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A great debut issue that sometimes gets too caught up in using violence and mental illness for laughs.
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To be honest, I think enjoyment of this comic comes down to whether you like "What If" style tales that mash together two different kinds of heroes. Every feature in Avengers Forever #1 save for Reyes and the Deathlok accompanying him takes two or more familiar Marvel concepts and jams them together.
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I feel like this is a little underwhelming of a "multiversal big bad" concept, but I feel like Avengers Forever in general works better if you don't think about things beyond face value.
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While Avengers Forever has been more miss than hit, this issue was surprisingly strong. I think it speaks to how well Aaron knows Thor that he finds a way of forging a new story and path for the character.
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There's plenty of meat left on the bone to be explored here, but I'm not sure this comic can deliver both a strong message and stick to the standard superhero beats. Still, Zdarsky and Acuna can certainly subvert expectations, so there's still room to impress in this series.
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This was still ultimately a fun Avengers story, one that could have had a bit more weight (and likely would have with a few more issues), but still captured the spirit of the Avengers nicely.
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This comic could probably use a little bit more breathing room to really tell a story, but it's at least been pretty an entertaining and interesting ride so far.
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Axe to Grind ends with an appropriately bloody finale, with a blood feud turned into a cosmic power struggle.
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Written by Becky Cloonan and Michael W. Conrad, with art by Jorge Corona, the new comic quickly establishes a new status quo spun from of the "Fear State" crossover event, but struggles to provide a central story hook separate from the event.
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While the many other threats and potential plot threads continue to circle around the heroes, I appreciated that the comic actually picked a plot and "resolved" it, which provided some much needed focus to what's been a very disorganized comic so far.
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I do feel that Jorge Corona's unique art suffers a bit at times here. Batgirls has always benefitted from his art's frantic energy, but the comic's pacing picks up a notch this issue and the paneling and art struggles to keep up with the story its trying to convey.
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What I appreciate about this issue is that the comic actually took time to breathe a bit, which gave the comic's creative team some room to provide some setup, context, and characterization that was missing in previous issues.
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All in all, a fun issue that nicely sets up a second year of the series.
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This is a decently fun issue, with Robin, Jimmy, and Batman all getting moments to shine, but the strong character moments were somewhat overshadowed by the goofiness that comes with 5th dimension stories... which is not something I generally enjoy, even with such a strong creative team. On the plus side, Dan Mora's art is amazing as always.
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I enjoyed Christian Ward's take on a cosmic horror-tinted Batman, although I felt that the series struggled at times with explaining how the Gotham Below fit within the general themes of cosmic horror.
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I do think it's interesting that Pariah (a key part of the comic's tie to Russell's previous "Age" series) hasn't been a factor so far, although a last page confrontation with Ra's al Ghul could majorly upend Batman's world as he knows it.
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On its own, the comic is an enjoyable pulpy read, but this new miniseries is a bit of a stepdown from the heralded original Gotham by Gaslight and its equally enjoyable sequel.
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This is still a strangely straightforward crime comic, but it's not a bad one.
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The constant crowd chatter and social media comments scattered throughout the panels tend to be distracting. I get that it's tied to the gimmick of the comic and the distracting peanut gallery is supposed to be the point, but it doesn't really add much to anything and is starting to wear out its welcome.
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This comic definitely feels like a throwback to a previous era of DC comics, but that's not necessarily a bad thing.
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While I feel like the actual escape relied a bit too much on luck and not enough on character or quality, I feel like the series might have had a soft reset... or at least found more solid footing to move forward with.
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Still, the worldbuilding in this comic and its take on fantasy tropes are both great, and By The Horns continues to be a fun read every month.
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There's not much to add about this issue that hasn't already been written in previous reviews - By The Horns is a fun and furious fantasy story that usually moves at a frantic pace at the cost of proper worldbuilding.
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Lots of intrigue in this issue but your mileage might very.
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My biggest complaint about Sentinel of Liberty has been the dud of a central mystery, one that relied more on buzzwords and teases than actual substance. This issue goes a long way to correct that, with the beginning of an explanation as to the new enemy that Rogers faces and its ties to Captain America's shield.
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I'm still not convinced about Outer Circle as a viable threat, but I am enjoying this comic's take on Steve Rogers.
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While I feel like the action bits in this comic are still the weakest parts, I enjoy the character building and the layers of intrigue that are gradually getting built here.
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This crossover's external stakes have been great, but the internal conflict feels lacking.
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This is still a fun issue, but it's one of the weaker chapters we've had in the Vox Machina saga.
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Dark Knights of Steel ends with one more shocking death, but otherwise wraps things up in a pretty satisfying way.
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Detective Comics #1041 is worth the cover price solely for Dan Mora's fantastic artwork.
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I'm enjoying the lead story (written by Mariko Tamaki and Dan Mora) but I do feel that it often suffers from not having enough room to properly show the continue decline and crumbling of Gotham. The backup story (featuring an in-construction Arkham Tower) feels pretty generic and doesn't add much to the overall story.
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Like so many other things related to the Batman line these days, it seems that a proper build to disaster has been skipped in the name of "the next big event." Luckily, it at least seems like the skyscraper disaster horror setup hinted at in this issue seems intriguing.
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I feel like the "shocking" reveal robbed the rest of the arc of some of its unsettling dread, as it spelled out something that most fans assumed would already come to pass. It just robs the issue of some of the wind in its sails, which is a shame because this shaping up to be a pretty good arc.
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All three are perfectly fine stories that showcase the odd family Batman has built up around him without necessarily focusing too much on Batman himself.
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Although not as exciting, I think this sort of issue was necessary to explain how the story got to the point and tease where it's going from here.
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Both stories are very solid and seem more promising than the bloated Tower arc that ran on for way too long.
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A solid Batman comic, although I'm most interested in what happens next in Detective Comics.
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This issue teased out some connections with the League of Assassins, but it almost felt like a detour from the haunting story we've gotten thus far.
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Every good horror story needs some air to be most effective, and I'm assuming what this chapter brings.
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Jason Shawn Alexander's grittier art style is a good fit for this particular arc although there's a tonal dissonance between the gothic and strange horror of the previous arc and the more grounded "heist" theme of the current arc.
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It's a surreal issue illustrated by Riccardo Federici and Stefano Raffaele that ties directly to the Orgham's origins, although it's not quite clear how much of this is real.
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Another solid issue although the build-up seems to be inching along pretty slowly this close to the finale of this grandiose arc.
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I appreciate that Tamaki is willing to tackle sticky issues in her superhero comics, although I think the fundamental nature of superhero comics (or at least DC's current status quo) prevents any real lasting change, which feels pretty depressing.
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Not every story needs to be a timely tie-in, and these comics nicely show off the feel of potential Witchlight campaigns.
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This is a fun horror comic, framed with a new take on Ravenloft that hearkens back to the terrifying morality tales found in old EC comics.
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I appreciate the willingness to experiment, even if each attempt isn't a total success.
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Fables #154 continues to be consistent with its slow and steady pace, focusing on each itinerant character as they continue their quest through the Black Forest.
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This has been a fun return to Fabletown (or at least, the remnants of Fabletown) but it seems like every issue I can't help but wonder... what's the point? For a comic book about stories, this comic seems to be lacking a coherent one.
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The comic continues to move at its leisurely place, although it's fun to see these characters grow from their experiences in the wood.
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While the comic dabbles with one of my underlying issues with The Human Target to date (namely that Christopher Chance is shown to always have the upper hand on every superhero he encounters), there's enough....weirdness going on with the narrative that temporarily dissuades those issues for now.
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While this issue fell into the pratfalls that have weakened the series as a whole, it sets up a very interesting pair of final issues.
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As long as you're up on the Batman line, I Am Batman is a strong issue, but don't expect to understand the full context of the comic if you haven't been knee-deep in the line for months.
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There's some good characterization and some meaty themes being explored, but the comic is really struggling spinning threads from "Fear State" into something that fits this book.
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A new era begins for Batman in I Am Batman #6, as Jace Fox moves to NYC and finds himself becoming a partner of the NYPD. Coupled with a new artist (Ken Lashley), this comic feels a whole lot different than it did just a few issues ago.
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I Am Batman #7 is starting to re-find its footing, thanks in part to a more polished art style.
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While this series has struggled to really find an identity, I think it's at its strongest when it focuses on Jace and his family. The creative team has done such a great job making them all feel like nuanced characters and the book is at its strongest when its a Fox family drama instead of doing its Batman but ripped out of the headlines schtick.
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This has been an uneven arc, but I thought it ended strong and I did appreciate how Jace's personal complications make him much different (and in some ways much more compelling) than Bruce Wayne.
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Jimmy's Little Bastards is the sort of deranged, manic, satirical comedy you'd expect from a Garth Ennis-written James Bond parody.
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John Stewart: The Emerald Knight tries to have its cake and eat it too by both resetting Stewart's status quo and giving him a bold new universe to explore while also shunting him out of exile from the Dark Sector so he and the other Green Lanterns can be reintegrated into the wider DC Universe. Surprisingly, the creative team finds a way to do both thanks to the use of a well-worn DC concept.
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It's a smoother issue, one that feels short due to the number of spreads and action sequences but is still an enjoyable read.
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While it wasn't sensational, I do think it's a bit above the other "Knight Terrors" tie-in series that have been running over the last couple of months.
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If you enjoy some simple Batman stories, Legends of the Dark Knight #6 is for you.
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. The opening issue provides enough of a hook to get readers invested, but I feel like the second issue will have to give readers a reason to keep buying the comic beyond its admittedly cool concept.
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This was an interesting anthology with an interesting premise, but would have likely benefitted from a bigger page count.
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Not All Robots #1 has all of the wit and bite readers should expect from a Mark Russell comic, even if its opening chapter struggles due to a flawed analogy.
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The series description hints that Nocona's story will only get more inventive from here, so I recommend jumping into the series and giving it a few issues.
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Pathfinder: Wake the Dead serves as a fun introduction to the world of Pathfinder to newcomers.
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The comic does a fantastic job of really showing just how deadly Nex can be to the living, while also continuing to flesh out the party's personalities. My only criticism of the series is that some of the characters are a bit too quippy.
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I enjoyed the series and the promise that this group's adventures could continue, although I feel like the series suffered a bit from being tooexpansive.
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This was a perfectly fine crossover that tries its best to separate the art from the artist and somewhat succeeds. Someone in charge should let Jim Zub right more Cthulhu mythos works.
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The comic is fast paced and full of laughs, although I felt that it could have skewered its magical school tropes a bit more.
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A solid superhero comic that hopefully helps lead to an expansion of the Milestone universe. I'd like to see Anansi make more appearances in the future.
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I enjoy what this comic is trying to do, but I don't think that it needed to be a four issue miniseries.
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Superman #28 serves as a finale for Brian Bendis' multi-year run on the Man of Steel's core series, bringing home his, Ivan Reis, and others' additions to the Superman mythos while reminding readers of the character's many timeless qualities.
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It's a fun compliment to the main series and hints that Chance has more history with these heroes than previously thought.
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Readers of the series should keep in mind that while this is a #1 issue, it's actually the 11th and 12th issue of an ongoing comics series. What I've read is intriguing though, and I certainly think it's the sort of comic that fans of fantasy and sci-fi will like.
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This is a fun comic about two mess-ups that meanders a bit at times and occasionally feels indulgent, but I think it's a fun period piece that approaches noir gumshoes in an entirely different way.
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This issue deals with cryptids and how Bigfoot and his ilk are actually a lot more dangerous than what they let on. It's an interesting issue, one of the better books in this series.
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While the comic's plot still suffers from the same issues I've harped on over and over again, the change up in art styles provides a breathe of fresh air for the comic.
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With the premise of the series firmly beaten into our heads over the last 17 issues, the series can more fully get into a meatier plot beyond "conspiracy theory has far more sinister connotations that can impact reality."
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The Department of Truth is one of two things: it's either guilty of the very same thinning of the truth to craft a fictional narrative that it finds more pleasing, or it is in fact showing how easy it is to warp the truth by using the occasional fact as a guidepost for falsehood. While I suspect it's the former, the latter is why I'm glad that this comic book is back.
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Of course, the flaws of The Department of Truth remain, but this arc still leaves plenty of questions surrounding one of the biggest moments in American history and one of the biggest unsolved questions of the comic.
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It's pretty obvious where the comic is going, but that doesn't mean that this isn't a heady cautionary horror tale.
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The cult of Dionysus takes a deeper hold in The Vineyard #3.
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This is a perfectly fine comic"it's filled with irony and broodiness, and the big "real world" twist was very unexpected.
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This feels like a good old-school sci-fi story, which really captures the potential vibe of Image's foray into licensed comics.
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While the dialogue was really stiff at times, I thought this was a solid issue of a series that has often struggled to fit into the rest of the X-Books.
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There's a lot that X-Men readers should enjoy about the comic, and I'm glad that X-Factor is also doing the yeoman's work of fleshing out some of the weirder questions of Krakoan culture.
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It's easy to see why this is such a fan-favorite comic, but it can still be a frustrating read at times.
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Ultimately, the opening issue does enough to intrigue that most readers will want to pick up the next issue.
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This is a good comic, but I feel that with some stronger storytelling it would be a great one.
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Amazing Spider-Man #12 serves as a nice rundown of the history between Spider-Man and J Jonah Jameson....and also as a good reminder as to why their current understanding is a bit hard to fathom.
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Hopefully, this arc gets some addition payoff soon.
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Amazing Spider-Man: Renew Your Vows wraps up its latest arc by showing that not every superhuman arc needs to be solved with violence.
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Although I'm generally not a fan of Spider-Man clone stories (especially since we have a Spider-Man book dedicated to all of his clones), I do like that Jody Houser is trying something different with this story and its main antagonist.
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After two strong issues, American Carnage #3 is just OK; it loses track of its message and becomes another predictable crime story. Here's to hoping it can quickly right the ship next issue.
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Art Brut remains very weird and colorful, although its depiction of mental illness remains distressing.
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Martin Morazzo's art continues to be fantastic, and I really think that this is establishing him as one of the premiere "creepy" artists today. Dude has a talent for drawing unsettling faces.
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This is a perfectly acceptable adaptation - the pacing and artwork are both a step above usual video game tie-ins -- but fans of the series might want to wait a bit to see if it continues to tread the same ground as the game or if it actually expands on Aya's story further.
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I guess if you enjoyed Aya's character and felt that she didn't get enough time to shine in the game, you'll enjoy the comic.
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I'm not sure that I'm really into the strange vibe this comic gives off, but it will certainly appeal to some.
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This is old-school superheroics, although the narration style and shift in focus from Ghost Rider to the Goddesses make things feel a bit detached. It's all in good fun and this seems to be a series that's more focused on throwing wild ideas out than taking itself too seriously.
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This is a perfectly fine issue that continues the themes of previous chapters.
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Unfortunately, the whole thing is a bit too trite and predictable. So far, this comic doesn't feel like anything more than another Avengers in the future story. I feel like the pieces are here to make it a lot bigger and better, but Avengers: Twilight just isn't there yet.
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If you enjoy European-style comics or high concept sci-fi, you'll probably like this new Barbarella series.
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I really want to like this comic, but I feel like it's still missing a crucial step somewhere.
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Batgirls ends the way it began, with more vibes than a tight story.
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Googe has worked on several other issues of Batgirls, but this issue feels more frantic and almost rushed and somewhat undercuts the seriousness of the issue's contents.
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There are times where the art really shines but there are pages (such as the last page) where it just comes off as flat and rushed. All in all, an okay issue.
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Batman/Teenage Mutant Ninja Turtles II #4 injects a mixture of melodrama and poor decision-making into an already Venom-boosted storyline.
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Batman/Teenage Mutant Ninja Turtles II #5 is basically a comic book version of those epic crossovers you had with your action figures when you were a kid. The plots don't always make sense, but it's really cool to see all of your favorite characters interact and fight each other.
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While I thought Batman/Teenage Mutant Ninja Turtles II's plot was convoluted at times and had inconsistent art, it did deliver a fluffy and fun adventure on par with their first crossover.
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The story is very grim and serious and not very new reader friendly, but it should keep Batman Beyond fans entertained.
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Terry continues to rebuild as Gotham quickly shifts and changes around him.
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This comic will definitely disturb you, which is precisely what it's trying to do.
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Bedtime Games gets creepier and creepier, as the demonic Mr. Bedtime inches closer and closer to the three protagonists of the story.
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This is probably the first time that Scarlet Spider has really felt like a Spider-Man book, albeit one with two knock-off Spider-Men and a villain who's the midriff-baring progeny of one of Spider-Man's classic villains.
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Scarlet Spider isn't as good as X-Factor, but the book seems to be trending in the right direction.
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The Scarlet Spider gets really dark. Really, really dark.
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One of the best written issues of Ben Reilly: Scarlet Spider is marred by new series artist Bruno Oliveira's uneven art.
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It's just a little odd to see Jack Burton portrayed as a Kurt Russell bobblehead, complete with an oversized head.
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It's a touching issue, a calm before the storm of what's sure to be a hectic and deadly final arc.
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At times, the comic seemed a bit gratuitous in its depiction of Natasha's suffering, especially during an extended waterboarding/torture scene, although it certainly seems in line with the Soska Sisters' general aesthetic.
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This is a solid comic, focused on building a mystery but shows little ingenuity outside of its plot for now.
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It's an intense issue that relies a bit on a few weird ungrounded leaps in how law enforcement works to get us to the point, but we're certainly in for an interesting finale.
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The serial killer's motives were interesting, but the comic really struggled to define itself and separate itself from the countless other cop stories out there.
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Choppy paneling aside, this is a solid comic and a must-read for those who enjoyed the game.
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Blue Book #1 contains well-drawn recountings of two well-known paranormal encounters, both of which are gorgeous to look at but have very little substance beyond the artwork.
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The slow and methodical take on the birth of UFOs in popular culture has gotten a bit more interesting as it delves into the most well known UFO incident in US history, but honestly this comic is still incredibly dry.
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Blue Book delivers a banger of a backup story, thanks to Lonnie Nadler and Jenna Cha's grotesque take on the infamous Tarrare, who lived during the French Revolution and was afflicted with an unceasing appetite.
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The lead story features an extended sequence regarding the repressed memories Betty claims she experienced during her time on the UFO. The conversation in the comic is at least somewhat unique, or at least dives into more detail than what can be easily found through a quick Google search.
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It's not that The Books of Magic #1 is a bad comic; it's well-paced, the art is solid -- especially the opening pages that recap the original Gaiman-written series in a medieval tapestry inspired style -- and the dialogue sounds realistic. However, it's painfully unoriginal and takes no risks or chances either in plot or layout.
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Books of Magic #2 is a definite improvement over the first issue. Instead of portraying Tim Hunter as a generic teen seeking to learn magic, now he's a sullen troubled teen that wants to use magic as a cure-all to fix his family.
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Honestly, I felt Hunter spent too much time in the Dreaming, as the scant pages spent in the real world felt much more interesting and had a lot more consequences to the main plot.
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This isn't the best book, but it's slowly getting better.
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This is a fun fantasy comic, but nothing too complex or groundbreaking. Hopefully, it continues to grow beyond standard fantasy tropes and into a unique storyline.
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While the comic could have played out the missing days a bit more, they choose to skip the drama and cut right to the resolution. It undercuts a pretty cool idea once again, which has been a flaw of the series since the opening pages.
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While M.O.D.O.C.'s "control" makes a bit more sense than the world-ranging conspiracy that was revealed in just three issues during the first arc, it's still sloppy writing for a serial series.
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This isn't a bad comic, but it can be a struggle to separate reality from visions and parable at times although that may be the point.
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Copperhead is a pretty good sci-fi comic that's let down by its art style.
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The comic's narration is also a bit dry, which is why this comic is hard to recommend for non-Critical Role fans. Still, this is a pretty ahem critical comic for Critters everywhere.
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The issue is that the comic has probably leaned a bit too heavily into Artagan's chaotic side and the damage it's done to so many people, that it's hard to really see much redeemable about him if folks haven't followed his somewhat redemption arc in the second Critical Role campaign.
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This is an interesting comic, but one that doesn't have much appeal outside of Critical Role fans.
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I do feel like this comic sometimes gets caught up in the shenanigans a bit too much the comic hardly references why Vox Machina was split up or their goals, instead pushing them to the next plot point. It's still a fun comic, though.
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The issue ends on a bit of a weird reveal, but I'm mostly enjoying how Charles Soule and Mike Henderson are finding new ways to test the Man Without Fear.
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Writer Charles Soule is walking a very thin line right now between crazy awesome and absurdly stupid.
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Whether this turns out to be a successful direction remains to be seen, but this remains an enjoyable and intriguing comic to read on a monthly basis.
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I was disappointed by how the issue glossed over so much of the history between Daredevil and some of his opponents -- if this truly is Daredevil's end, then a few of these characters deserve more than a passing mention and a line of dialogue. Still, the creative team of Soule and Noto are continuing the build a sense of finality, as Daredevil seems to be running out of options and places to hide.
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All in all, this is a fun but probably not necessary superhero one-shot.
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Ultimately, your enjoyment of Dark Crisis: World Without a Justice League Superman #1 will be dependent on your feelings of past Tom King comics. If you like King's commentary on wartime framed through superheroes, then this comic will definitely be your speed. But if you're tired of the glorification of "just wars," instead of acknowledging that war is nothing but a repressive tool that churns through innocent lives and sullies the morals of anyone it touches, you're probably not going to like watching Jon Kent grow up to join the war effort.
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A lot of this issue focuses on Batman's redundancies in place to protect him from Freeze. While it was cool to see Batman's forethought in action, it did take a way a lot of the suspense this issue.
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Tomasi's Detective Comics has been very hit or miss (his "hits" are great, but his misses are very mediocre) and it's too early to tell which this will be.
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If you enjoy the creative teams and don't mind paying a premium for comics meant to provide only a snapshot, this comic is at least worth a flip-through.
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While this isn't a really innovative story, it does seem to indicate a big change of pace for DC's oldest Batman book, and that's likely a good thing.
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I'll give this arc more time before making a final decision, but the whole issue definitely caused some skeptical eyebrow raises.
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All in all, a perfectly acceptable Batman comic.
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Everything starts to fall apart in Detective Comics #1053.
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For the most part, this comic is exactly what you'd expect if you've been reading the weekly issues for the last two months.
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Outside of an intriguing premise, the comic doesn't cover a whole lot of ground, although it's got enough of a hook to keep fans coming back for next issue.
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While we get brief little glimpses as to how both of them are coping with this frankly humongous change, I feel like the comic missed the opportunity to do something really innovative in favor of a rather standard origin.
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If you can ignore all the noise involving the Superman theory, and the JSA, and the Legion, this is one of the stronger issues to date.
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This is a solid fantasy comic, one that isn't without its struggles but is very effective at bringing the world of D&D to life.
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If you need a comic to scratch your fantasy itch, you'll enjoy Evil at Baldur's Fate. It's a safe and fun comic, a fantasy story created by a Dungeon Master for players just looking for some simple escapism that doesn't really challenge any well-worn tropes.
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The only downside to this issue is Harvey Tolibao's incredibly stiff art. While it works for the Modrons and other denizens of Mechanus, Delina looks incredibly flat and stiff in every panel that she appears.
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These single issues pull the party away from generic fantasy tropes, and this issue in particular looks to set up even bigger adventures in the future.
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While not particularly deep, just about every character gets a chance to shine and Minsc feels for the first time like an organic part of the story rather than a just a tacked on bit designed to tie in the past of D&D to its present. A fun comic, the first in this series.
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All in all, this was a fun nostalgia play that struggles at times to keep the cartoon characters balanced with the Forgotten Realms characters, but should still be enjoyed by most hardcore D&D fans.
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The D&D comics often toe the line between story-driven and highlighting bits from recent adventures and rulebooks, I thought this comic leaned a bit too far towards the latter.
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Echolands is still a joy to look at, but something felt a bit less satisfying here.
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While Saladin Ahmed and Javier Rodriguez craft a fun and action-packed issue, it felt a bit rushed...which would make sense since the series is ending next month.
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The action in this issue was great, and Joshua Cassara's art is solid -- his work reminds me a bit of a less-stylized Daniel Acuna.
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Folklords, a tale about a fictional character dreaming of the "real world," starts to get even more meta in its penultimate issue.
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The comic continues to feel pleasantly different than Amazing Spider-Man, and Taylor has earned enough goodwill that readers should at least be willing to see where Aunt May's latest health scare will take us.
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This comic reminds me a lot of the old Web of Spider-Man, which weaved Peter Parker's personal drama and superheroics into one continuous narrative. That comic and this one skewed a little too close to melodrama at times, but it works because that's what Spider-Man is about.
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To be honest, I'm not really enjoying this arc"I feel it's trying a bit too hard"but the comic still "feels" like a classic Spider-Man series and offers an alternative to those not enjoying the flagship Amazing Spider-Man series.
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All in all, a very mixed bag for this "Future State" title, but it will be interesting to see the new directions the Teen Titans head in.
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If you enjoy cop stories in the vein of Chicago PD or even more nuanced takes like Ridley's own American Crime Story, you'll likely enjoy this comic book. If you want to see a Gotham-focused comic about an entity that has long had its own (corrupt and irredeemable) character, give The Blue Wall a pass because Gotham has been all but scrubbed of any of its defining characteristics.
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This is still a weird comic, but it's finding its footing more and leaning more into the "Gotham" of the GCPD.
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While this still isn't a "great" comic, it's a lot more in line with what you'd expect out of a Gears of War comic than previous issues.
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This ultimately is a fun and fluffy God of War comic, one where the stakes are low but the potential for entertainment is high.
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This is a much stronger issue than the first, one that makes Kratos seem like more than a brooding brute who has lost his taste for bloodshed.
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This is a decent static character portrait with some good art; it doesn't try to be anything more than a God of War comic, and it's enjoyable because of that.
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Goddess Mode #5 is a surreally illustrated comic with a dense plot that is at times hard to follow.
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Although Sandoval's figure drawing is a bit disproportionate at times, his artwork at least makes the issue feel a bit more exciting. Otherwise, this issue is mainly setup for a big climax, as the Green Lanterns and Zod look to FINALLY come to blows.
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The fight doesn't reach the epic levels of past Green Lantern arcs, but most fans of the series should enjoy it.
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On one hand, it was great to watch Jordan use his natural environment (the sky) to his advantage. However, everything that happened after the big fight just... didn't make sense.
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While Rafa Sandoval's art at least shows some energy (something that was lacking in the previous issue), his art felt a bit stiff on some pages and felt rushed on others, especially in the early pages.
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It feels like there's a disconnect between the conversation this book wants to have and the actual events of the comic.
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This issue continues a "hurry up and wait" trend in the comic, in which an arc quickly establishes a threat and a pending showdown, but then plods along for several issues to get to the big fight.
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The book has suffered from some really inconsistent art choices over the last few months, but Henry is one of the stronger artists to work on the series. His art meshes well with Pantazis' color work, giving the book a bright and unmuddied look that works well with the colorful characters (pun intended) in the series.
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Hal Jordan and the Green Lantern Corps' final arc ends with a mostly enjoyable finale that wraps up all of the series' loose ends.
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Lone Wolf is an interesting chapter in the Halo franchise. While not necessary by any means, the creative team infuse Linda-058 with enough personality to make the comic compelling, and it's always fun to look into the expanded Halo universe.
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Unfortunately, I think Harley and Ivy fans will be disappointed by this issue.
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I feel like this comic is trying very hard to bring some new relevance to Poison Ivy post-Heroes in Crisis, but it's all rather confusing and ties into the increasingly muddled world of the Green, as established in Swamp Thing.
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The creative team seems to be growing more comfortable with the duo, and I'm curious to see if Ivy's mental state will be the primary plot driver or if they'll introduce more complications soon.
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All in all, it's a perfectly fine issue but doesn't really innovate or explore the characters in any sort of interesting way.
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This comic is definitely for the literary crowd, or for those who wants to see more non-Western mythological and spiritual concepts in their comics.
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This is probably the first issue that actually spends major times developing both plots, and it improves considerably as a result.
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House of Whispers is starting to find itself. This is the strongest issue of the series since its opening issue, mostly because we finally get some strong crossover between the series' two disparate storylines.
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All in all, this comic feels more like Rorschach-esque King instead of Mister Miracle-esque King and that's not a good thing.
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The Human Target is a perfectly fine comic with very solid artwork and a slightly obnoxious plotline.
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This isn't quite the noir story that Marvel advertised it would be, but it's still a fun start to what should be a grittier X-Men adventure.
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Without spoiling much more of the issue, I do think that Jim Zub and the X-Men editorial team found a very elegant way of unraveling the Gordian knot that was Psylocke's problematic identity, and we shouldn't see too many fans unhappy with the new status quo.
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The series is definitely something different, but it's often a mixed bag whether that's a good or bad thing.
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To be honest, this wasn't the strongest issue the drama feels overwrought and while Jace's extreme reaction is understandable, it feels in conflict with some of the growth he's shown during the series.
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Injustice 2 continues to be the DC Universe comic that fans have wanted for years -- albeit in a very bloody format.
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While the book doesn't need it to keep you coming back, the perfect pacing of this story will definitely have you eager to find out what happens next.
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While Injustice 2 #22 contains the great character moments we've come to expect from the series, which ties the gap between the first and second DC fighting games, this issue showcases the book's biggest weakness: its occasional sacrifice of the story making sense in order to keep the book chugging along to its inevitable conclusion.
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We know that Hal eventually becomes a Green Lantern again, but it's clear he has a long way to go both in his own eyes and in the eyes of the Green Lantern Corps to earn that redemption
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The last page reveal is also a doozy and should set up some craziness in upcoming issues.
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Harley hasn't had much of a spotlight in the comic so far, so it's nice to see her shine and remind readers why she's such an important part of the Injustice series.
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Overall, Injustice vs. Masters of the Universe is a rather standard setup to what should be a fun crossover series.
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If you're into Garth Ellis's take on super-spies and British politics, this comic will be your jam.
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Joe Golem is mostly what you'd expect from a Mike Mignola comic: occult and noir themes, seedy detectives, zombies, villains in gas masks, and of course a touch of Lovecraftian horror.
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This is an interesting Justice League issue, one that teases the future and provides more questions than answers. As this event leads into a Justice vs. Doom storyline in the fall, I'm expecting some big action and shocks in the months to come.
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This is leading into a big event (that's explained further in this week's DC's Year of the Villain comic) so DC fans will want to jump in now.
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In the end, Justice League #28 does what it needs to do, and it sets up a big epic event for the fall.
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Justice League #34 could be a pretty powerful statement of what's coming next for the DC Universe, as the past and future converge in an attempt to stop Luthor and his Legion of Doom from tipping the cosmic balance towards Doom.
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While this issue still has the same recurring problems as past issues (too many characters that seem to just be around as window dressing and don't really contribute much or have a real distinct voice), I think that this was a necessary respite from the action that sets up the next step of this mega-arc.
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Justice League #36 has a very epic ending, one of the most epic endings I've seen in recent superhero comics. Everything leading up to that point is... well, it's a bit messy.
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The fun is still there, but the gravity is unfortunately a bit wasted due to how quickly everything is moving.
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After sticking the ending, Justice League #39 almost immediately squanders it by being too vague about the future and not providing any real pathway forward for the DC Universe.
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This isn't the best Justice League story by any stretch (it suffers from every superhero trying to get in ideological points, and the art feels rushed and sloppy), but it does have a certain charm to it. In a way it reminds me of a storyline you'd see in the Justice League cartoon, or maybe one of Gardner Fox's Justice League issues.
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This isn't necessarily a bad Justice League story, but it is a startling contrast to how the characters are portrayed in just about every other comic and medium ever.
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This entire storyline felt like a throwback to the Silver Age"the story itself was perfectly pleasant, but it ultimately felt out of touch with the wider DC Universe.
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Justice League just feels very out of place right now, and that makes it a hard sell.
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This isn't a terrible issue by any stretch, but it's hard to think that it'll have any real impact besides posing a rhetorical question asked many times before.
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If you aren't following the events of the DC Universe closely, take a pass.
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It's hard to tell how closely this will tie in to Death Metal, but this issue will mainly appeal to those who are following this series and those looking for a bit of resolution to the James Tynion/Scott Snyder Justice League arc that led up to the event.
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With the larger cast, the main feature slides into bits of infamous "Bendis dialogue" and I still feel that Marquez's artwork feels either rushed or misinked in some way.
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While the Justice League series feels mostly irrelevant at the moment (a consequence of the ongoing Dark Metal event), if you want straightforward superhero fun, you'll enjoy this comic.
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I think the lesson here is to just let Dan Abnett do his sci-fi thing and not worry about having every book tie into your company's crossover event.
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Not a lot happens this issue due to the story moving pieces in place, but it still remains a ton of fun and I'm always appreciative of more Dex-Starr goodness.
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I'm still struggling as to what this book is supposed to be - a slice of life, a murder thriller, or just a weird comic about a weird loser winding up in the strangest place on earth - but I'll keep reading next month.
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King Thor #3's only flaw is trying to use a fill-in artist (Das Pastoras) for four pages in the middle of the issue.
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My biggest criticism of the issue is that Pizzari's artwork is inconsistent. There are times where it's great and times that it looks positively amateurish.
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While probably not necessary to enjoy "Lazarus Planet," this comic is probably a good launching point for many of the upcoming tie-in series.
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Neither are particularly deep looks into Batman's psyche, but I think Batman fans will enjoy them for the most part.
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A giant monster attacking a big city is hardly an original idea, but Leviathan approaches it with an almost gleeful level of derangement, which makes sense given the comic's creative team of John Layman and Nick Pitarra.
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There's a manic energy in Leviathan, perhaps a bit too manic for my liking, but it's still an enjoyable lighthearted read.
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Claudia Leonardi's art is solid, giving the comic a slightly stylized work while keeping the main two characters recognizable. For those hoping to see more of Chloe and Max, this is a worthy sequel.
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While not necessary to enjoy "Empyre," I think this is one of those comics that helps bridge the gap for longtime readers, or helps new readers understand where "Empyre" fits in the grander scheme of the Marvel Universe.
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This comic is mostly a bridge between Soule's Daredevil and the upcoming Chip Zdarsky run, but it's also a decent Daredevil comic on its own right.
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This book has me optimistic about the future of Daredevil, and hopefully we see more pieces fall into place for the future soon.
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This was a decent transitional series, perhaps a little rough with the art at times, but it conveyed Matt's mindset as Daredevil enters the Chip Zdarsky era.
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While some of the "cameos" in this issue were a little much (Thor is an overzealous cop! Loki is a street punk!), this is still an intriguing comic, especially when focused on its core characters.
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Honestly, my favorite part of the anthology were the interviews and art pieces, which helped to drive that the anthology was more than just filler stories and pieces.
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This comic isn't groundbreaking by any stretch, but it's fun, and fans of the Witchblade franchise in particular will enjoy it.
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In a way, Middlewest reminds me of the early chapters of the first book of the Dark Tower - there's a relatively straightforward plot, but it's almost secondary to the strange world it's set in.
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The core story of Middlewest is coming into more focus, and it provides a lot more focus to what has felt like a drifting series so far.
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As long as you focus on the heart of Middlewest, you'll enjoy it a lot, but once you get wrapped up into thinking about its world, you'll just wind up frustrated and confused.
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While I enjoyed the mostly standalone nature of the comic, I felt like this issue mostly spun its tires in terms of the overall series - we get a few brief glimpses of some new mysteries, but there's still plenty to learn about the comic's actual leads instead of spending a full issue following a character who (at least at first glance) doesn't have a larger role to play.
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While still a solid issue, Mister Miracle #8 is a step back from last month's more complete chapter.
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Mister Miracle #10 grapples with the impossible question posed to Scott and Barda at the end of last issue: would they sacrifice their baby to stop the war with Apokolips? Mister Miracle has dealt with these sorts of terrible and impossible choices with a deft sense of gallows humor, but honestly a lot of the "humor" just falls flat this issue.
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The first issue is intriguing, but it's too early to say whether this will be a great horror series or one that relies on gore and unsettling visuals.
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While the comic doesn't feature much for "Loseid" fans ("Darkis"?), most of the stories are decent -- or at least not actively bad.
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Naomi is a well-written comic that seems to be centered around a very frustrating concept.
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Naomi: Season Two ends with another epic fight that struggles to maintain a cohesive narrative.
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While this comic is weird... it's at least the sort of weird we expect from Napoleon Dynamite and hinges on the characters being weird and wacky. I'm still not sure who this comic was made for, but it's at least not a bad comic.
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The strength of this issue continues to be the comic's throwaway gags, which help merit a re-read to catch them all.
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Not All Robots loses the metaphor a bit in issue #4, but it still manages to deliver a poignant message.
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While the messaging of this satire has gotten a bit lost, there's a compelling story starting to form that should be the focus of the next volume.
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While there's plenty of resolution, the last two pages provide a very intriguing tease as to where the series will go next, reminding readers that there's more than just alien beasts lurking in Oblivion.
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Hawkeye's largely given up his heroic past (he is going on a murder spree after all) so I'm not sure why he gave Beetle the option of dying with his armor on.
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For years, we've seen the aftermath of when the villains finally beat the heroes of the Marvel Universe in the Old Man Logan universe. In this issue, we finally see how it happened, and why Hawkeye was left alive for all those years.
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This is still a fun comic, but I feel like this comic still has a few more threads that need to get wrapped up even though it's starting to move towards its conclusion.
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A rare misstep for writer Kyle Starks, but we're nearing the end of this maxi-series and it should be interesting to see how the remaining pieces in this prequel series fit in to the wider story of the Old Man Logan plot.
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A rare misstep from Ethan Sacks, and I'm a bit worried that Old Man Hawkeye won't "stick" the landing next month.
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The comic shares the same heart as the Orphan Black TV series, although those not familiar with the show might find themselves very lost as there's no learning curve for new fans.
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If you're looking for lighthearted fantasy fluff or want to see what all the characters in the Pathfinder illustrations are like, give this comic a read.
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Although this comic didn't have any great seismic changes to the Pathfinder Universe, it's still a fun fantasy miniseries.
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Like previous issues, this comic serves more as a highlight of some of Pathfinder's weirder corners rather than delving too deeply into much of a plot.
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I like the idea of a post-apocalyptic comic that doesn't involve zombies, but does it matter if it looks and feels exactly like every other zombie comic out there?
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The comic itself is very good, it just feels very weird given Justin Roiland's issues.
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While the plot is rather standard, there are a few fun touches that should make this comic enjoyable to Valiant fans and those looking for a enjoyably violent superhero comic.
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After four issues, Rorschach finally gets a bit more interesting, although that's faint praise given the previous issues.
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Although I'm still not particularly impressed with this comic, this issue feels the most "Tom King" it's been from the start and sets up what should hopefully be an interesting conclusion.
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Samurai Jack: Quantum Jack spends its final issue explaining exactly how Jack got ripped out of time and ended up bouncing around from alternate reality to alternate reality. It's an odd storytelling choice, especially as it ends on an ambiguous note.
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Shatterstar ends with a somewhat sweet ending that wraps up this mediocre miniseries nicely.
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I'm still not a fan of McFarlane's verbose narration as it tries too hard to set a mood that the art already does so well. Still, if you're into horror and monsters, you'll like this issue of the series.
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Spider-Geddon #0 is a perfectly fine introduction to the upcoming event. It didn't exactly leave me excited for the event, but it also didn't actively turn me away from the event either.
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It's a fun, mostly consequence-less issue, but one that explains where Gwen was during the events of "Spider-Geddon" and how she found her way back to the main Marvel universe.
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It's a nice, simple story, one that highlights some of the differences between Morales and Peter Parker.
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All-in-all, this book is a big improvement over last issue and I'm intrigued to see how the brewing conflict between the Chameleon, Spider-Man, and Deadpool plays out.
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Spider-Man/Deadpool is a hard series to pick up a random issue and enjoy, but the series delivers some fun payoffs if you stick with it.
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This is a pretty standard superhero fare -- lots of fighting, lots of pieces moving, but not a ton of character development or memorable moments.
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While this issue gives readers another payoff from a past plotline, it falls short as to explaining why Deadpool is harboring such immense guilt over his actions in the past.
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Spider-Man/Deadpool #33 feels like a classic Spider-Man comic, but with a steady stream of Deadpool sputtering meta-nonsense on every page.
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Since this is a Deadpool comic, the ending to this arc is a little bit slapstick-y and everything gets wrapped up a bit too conveniently. Still, the recent arc really examined the tense and imperfect relationship between Spider-Man and Deadpool and justified exactly why these two characters have a team-up comic.
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Portraying the two superheroes as feuding parents is a fun twist, one that further subverts their relationship and sets up more shenanigans in future issues.
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It's an interesting way to frame the relationship and personalities of these two characters, but it does at least continue to keep the team-up book fresh after almost 40 issues.
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Most of the jokes in this issue don't really land, but the one that does is genuinely hilarious.
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As with most issues of this series, there's a balance between earnest superhero tropes and gentle satire, as we learn about a major event that happened while Spider-Man and Deadpool were stuck off-planet last arc.
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I did like a series of gags where Deadpool comments about how he can't see captions or censored middle fingers when the reader still can, but this comic was probably a bit too far on the fourth wall commentary for my liking.
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Spider-Man and Deadpool are trapped in a crossover event, and it seems the only way out is to get really, really meta.
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As with every issue of the series, the jokes are a bit hit and miss, but I found myself smiling fondly more often than not, and I think that I'll miss this series and its weird blend of heart, madness, and desire to stretch any length for an all right gag.
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It's a cute comic that's all about the magic of childhood and it has one of the cute twists at the end that sets up for a big dramatic arc akin to a Christmas movie.
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This is a solid issue, but we'll have to see if it goes down the bleak route of Dark Horse's last Starcraft series.
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Houser does do a great job of building up the comic's three main characters, though, and I'm sure it will be sad when one or more of them get eaten soon.
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There's still a strong horror element to Starcraft: Scavengers, and the mystery monster finally gets revealed in this issue, but Scavengers really is a story about carving one's own path and discovering that your friends might not be who you thought they were.
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This is a decent sci-fi comic that just happens to have the Starcraft name attached to it.
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This issue doesn't exactly stick the landing, but I am intrigued to see if Houser gets a chance for a sequel.
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This comic isn't as exciting and dynamic as the previous two issues, but I do feel like it keeps its focus better than issues in the first Static miniseries.
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This issue is probably the most uneven of the series so far.
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Static: Shadows of Dakota suffers from what appears to be increasingly rushed art.
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Static: Season One #5 continues its mix of cool visuals, very out-of-place speeches, and cliffhangers that don't seem to land right.
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For a comic about astral projecting cats, this is a very, very melancholic issue and I'm worried that it'll become much more tragedy before much longer.
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I'm glad that the issue is showing the bigger picture after two issues focused mainly on exploration and a desire to protect Lou from the strain of astral travel, but this comic seems to just be missing a little something to really make this series special instead of good.
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Strayed suffers from very poor pacing.
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This is a solid first issue, but it's unclear what direction the comic is heading.
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Superman is providing some answers, but the decompressed nature of this storyline is a continued sore spot that hopefully gets resolved with next issue's finale.
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Because of DC's marketing, this comic mostly feels like its spinning its wheels and stalling for next issue's big "reveal."
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A solid issue, although I feel like leaving the readers in the dark as to Superman's "crime" against the alien is a bit unnecessary and is dragging a bit too much.
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Superman #30 sends Superman and his son back into space, this time to re-visit a world from one of Superman's past adventures. It's an intriguing space mystery, one that uses the language barrier between Superman and his old allies to great effect.
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The book shines when it spotlights Jon struggling to live up to his father's image and keeps the main plotline from being a mostly standard sci-fi plot.
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It's a solid Superman story, albeit one that plays it pretty safe.
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If you enjoy epic science fiction series, this looks like a lot of fun -- just pick up the first Swashbucklers series first.
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Once again, it's mostly standard superhero fare, but it does end on a tease that should have Marvel fans coming back next issue.
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The comic is built around a believable love triangle complicated by past relationships and baggage. My one complaint is the overuse of blank backgrounds - it made the art feel rushed and incomplete way too much of the time.
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My biggest issue with the comic is that the series is really struggling to balance some of its competing threads of intrigue. Because everything is so different, it's hard to tell what is just flavor to showcase how different the setting is and what's supposed to be relevant to the plot.
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Ultimately, this was a comic that tried to do some interesting things and probably would have worked better as a longer series, but the comic had to quickly wrap up after just a couple of issues.
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etween a galactic king who lacks even the simplest measure of compassion and a bunch of hilariously terribly named superheroes, The Black Order has plenty to make superhero readers laugh; it's the comic equivalent to that sarcastic goth kid in high school.
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This issue of Black Order swings a little too far from "over-the-top violence and goth/emo feelings" and more towards the melancholy, although I'm interested to see how this first arc wraps up next month.
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Overall, a goofy and gritty story with plenty of ups and downs.
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There's still enough intrigue to keep readers invested, but this is a let down after a strong first issue.
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Honestly, this comic seems to be very caught up in a very particular use of conspiracies, and I'm still waiting to see if it will address the fact that it's peddling in the same fanciful alternative storytelling as the conspiracies the book itself is trying to address.
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This issue hints at the presence of the Illuminati and dabbles in some fanciful weirdness involving the creation of Anno Domini and the apparent falsification of Charlemagne.
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Of course, this comic still seems to feel that the best way of presenting its ongoing mysteries is through extended bits of exposition, which frankly doesn't always work with the more abstract art style and even more abstract premise of the comic.
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I'm not sure that was always the plan or an evolution of the story, but it at least makes the comic feel a little more aware of the topics and the "reality" of conspiracies and their actual toll on society.
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Ultimately, it's an experimental take from an experimental book, one which will likely land well with some but will feel like more self-important nonsense that treats real life tragedy and folklore as frivolous fiction that can be summarily dismissed and warped into a nonsensical grand unified plot line to others.
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If you can get around the incessant moping and characters explaining the same bits over and over again, the comic starts to finally pay off moments from earlier in the series.
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This new issue largely avoids all this, re-framing the Empty Man virus as a disease with grotesque side effects with no known cure. This is probably due to the creative team prioritizing reestablishing the book's setting and introducing new characters in the first issue, but the comic unnecessarily is holding back its main hook.
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It'll be interesting to see how the comic adapts from grim realistic violence to supernatural monsters, but the creative team is keeping things interesting and intriguing along with really freaking out their readers.
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This comic works best when it leans towards the Lovecraftian instead of the standard gory horror comics, and that's the direction it seems to be heading.
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This is still a strange book, one that sometimes suffers from inconsistent scripting that doesn't explain who certain characters are, but the core concept remains intriguing and extremely creepy.
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I liked that the central characters spent most of their time stuck in the highway, literally watching the world burn. It's a little derivative, sure, but it's probably an accurate representation of where someone trying to keep their head down would be when the world goes to hell.
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This book continues to surprise and intrigue, even as it quickly rushes towards a more apocalyptic setting.
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This is a strange but intriguing series and I hope that we see future chapters of The Empty Man in the future.
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The Last God continues to be an interesting fantasy story that suffers from some muddy coloring issues.
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The Last God failed at this, so we're left watching a bunch of contemptuous and disdainful characters try to save a wretched world.
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The last couple of issues have been a bit too predictable to my liking, even though The Last God continues to forge its own path away from typical fantasy tropes.
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The Last God rushes towards its ending, and not necessarily in a good way.
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The comic still feels too busy at times and the lettering is a mess, but I'm at least intrigued to see how the comic moves forward.
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It not only provides the least interesting perspective into the Chindit and the Burma campaign, but it also brushes aside the real harm that serves as the backdrop for this story.
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This issue lionized the Gurkha, showing off their impressive fighting skills and their surprisingly upbeat attitude. The comic lionizes the units, perhaps to an uncomfortable degree.
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This comic, while fantastically drawn by ACO, doesn't really have a strong hook to it beyond its surface level shock and seriousness. The character work doesn't really live up to JMS's standards and the story isn't anything particularly inventive.
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From what I understand, the lead story is the only new story in the comic, as the rest is re-printed material from the Perhapanauts' first run 15 years ago. Still, if you haven't read the original series, you may want to give this comic a try.
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Masters does a decent job of capturing the ultra-violence of the movies into the comic, without it coming off as grotesque or absurd. However, the comic lacks some of the ingenuity of The Raid.
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This is a perfectly fine Rocketeer comic, but nothing too special.
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Simply existing as a Sandman book isn't enough to make this comic either a sales success or a "good" comic.
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This still isn't a good comic, but it seems to be taking itself a lot less seriously, and that's a very good thing.
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This might be the best issue of The Silencer yet, although that's not exactly high praise given the mediocre quality of past issues.
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Outside of a controversial last-page twist, The Terrifics #1 doesn't stand out at all in terms of plot, largely because the comic has to spend so many pages setting up its core premise.
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The Terrifics is a good comic that would probably be an excellent comic book if it just had a few more pages to breathe.
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While I'm not the biggest fan of how broody the entire team is (even Plastic Man is more angsty than usual), this book is worth picking up just for the amazing Shaner artwork.
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Tom Strong's use in this comic is like owning the Mona Lisa and hanging it in a basement. It feels like a waste, and a controversial waste at that.
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For a comic with so much promise, The Terrifics seems like "just" another superhero book in this issue, and that's disappointing.
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While this issue's big ending is likely temporary, it was clever for the series to lean into that The Terrifics haven't really formed any bonds during their weeks together. Sometimes, there's just no chemistry between people, and hopefully Lemire continues to subvert typical superhero team dynamics in the future.
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This issue of the Terrifics feels like it could have been the finale of the book. The team's cast almost doubles in size and the lingering issues surrounding the team's interpersonal issues have finally concluded.
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It's like the comic wanted to touch on a serious, life-changing topic before going back to its upbeat tone, and it feels a bit jarring as a result.
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Pacing issues aside, this is still a fun series and worth reading until the bitter end.
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To be honest, I expected a more poignant ending than what we got, but sometimes cults and fanaticism doesn't come with a higher message. A perfectly fine comic, one that intrigued at times but never really stood out.
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The Warning isn't your typical sci-fi book, but people who enjoy serious military stories will connect with it the most.
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I'm a bit more intrigued by Warning than I was with previous issues, but the lack of an overarching story or characters is a bit grating.
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My interest was definitely piqued by this issue, although it remains to be seen if we'll get something meaningful next month.
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Warning remains a pretty chaotic comic and it's hard to get invested in any of the characters, but it's getting interesting now that the slow burn has finished and we're seeing more action.
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If superfluous sexiness doesn't pull you out of a story (and if you're reading a Witcher comic, it likely won't), you'll enjoy this comic.
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I can't say that this is a great comic, but it's a comic that Witcher fans will enjoy, especially those who enjoy naked chests -- both of Geralt and assorted monster women).
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I would have liked to see more of the (brief) critical examination we got of how Golden Age comics treat their heroes and also non-white male characters instead of the relatively harmless set up and takedown of Dragonflyman's villains; but the last page set up seems to suggest that we'll be lingering on Earth Alpha for a while longer.
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Honestly, my favorite moment is when Dragonfly realizes that his counterpart, for all his bluster and uprightness, is strangely cold and uncaring. It was a great moment that showed some real contrast and insight to their character beyond how their worlds shaped them.
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This is good superhero fare"nothing groundbreaking, but enjoyable nonetheless.
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. I won't say that this is a great comic, but it's better than the average comics adaptation of a shooter game, and it might even open up the world of The Division a bit before the sequel's release later this spring.
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I do have some wider questions about the story behind Division, but can put those aside for what's been an acceptably intriguing series so far.
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I think the Tomb of Eden hook shows promise, and I like that the rebooted Tomb Raider franchise is still leaning into some of the more fantastic elements of the tombs Lara likes to explore.
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It's not exactly an action-packed issue, but the last couple of pages are a bit strange, and that's when the Tomb Raider franchise is at its strongest.
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It's an unsettling and confusing read, which I think is the point, but it loses some of its meaning if you haven't been following this specific iteration of Lara Croft's origins.
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Artist Ashley Wood's art is sadly uneven, shining during "big" scenes but looking rushed and messy in smaller panels. Her faces are especially bad at points, which really bogs down this comic.
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I like how they're trying to establish a mystery with the Constructicons, although non-Transformers fans may struggle to understand how everything ties together.
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Transformers: Galaxies ends its Constructicon arc by showing just how powerful and dangerous Devastator (the combined form of the Constructicons) really is.
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Ultimately, Typhoid Fever is an ambitious comic that struggles with execution, but is still intriguing enough to keep reading.
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The premise of the book seems intriguing, although the comic seems to lean heavily on standard YA tropes such as the grieving father, the bullied horse girl, and the family learning to move forward. It's certainly worth a preview at least before deciding on whether to pick up the full graphic novel.
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United States vs Murder Inc #3 is now knee-deep into the core premise of the comic: a fight between the United States government and the mob families that semi-secretly actually run the country. But while this series started off strong, it's faltered a little bit with each issue.
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There's an assassination scene that is delightfully perverse; a great sequence that's one of the more hilarious bits we've seen in a Bendis book.
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While the tale (and its aftermath) makes for a fitting end to this miniseries, this issue illustrates both the strengths and weaknesses of Bendis and Oeming's series as a whole.
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This is a decent sci-fi story, but an odd way to start Image's new Energon Universe.
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While this was a great fight-filled issue, I do feel like it would have been helpful to explain what makes Proximus so dangerous (besides the fact that he appears to be a cyborg or a robotmaybe?) ahead of time.
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It's still all but indecipherable to newcomers to Voyage to the Stars, but that's probably okay since it's a comic meant for fans of the series first....and everyone else second.
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It might be jarring for MCU fans to see Nakia's comic book counterpart, but this is a mostly a fun comic, albeit with choppy art.
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Neither McElroy fans nor Marvel die-hards will be disappointed with Journey Into Mystery. It's a fun comic that fits within the greater tapestry of the Marvel Universe and retains just enough of the McElroys' distinct voices to feel unique.
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This comic is weird and quirky in the best ways, but it's really let down by the art and lettering, all of which looks very amateurish at times.
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The series is now officially two-thirds of the way done, and while the plotlines are starting to merge, I almost feel like we're not any closer to figuring out what's going on then a few months ago.
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This issue marks the start of an intriguing second arc, and I have a funny feeling we'll soon see some ties to some of the other Top Cow Artifacts soon.
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I do feel that the shift in tone from "unexperienced demon hunter" to "caught up in a global conspiracy" is a bit jarring, but I'm willing to give Witchblade more time to find its footing.
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Although Witchblade feels a bit disjointed at times, I did appreciate how Caitlin Kittredge neatly tied together her heroine's origin with current NGEN threat.
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I like the dynamic between Alex, her ex-love Johnny, and her "sidekick" Maj, and hopefully the new status quo can put that dynamic more into focus.
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This isn't a perfect issue, but it's an improvement over the last arc, and I'm curious to see what happens next.
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Omega Red also makes an appearance and hopefully, the long-promised fight between Wolverine and vampires will get a lot more interesting next issue.
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Having someone yell "Get off my lawn!" as they plow through a horde of undead is the description that perfectly describes this book in a nutshell, and by the end of it all I couldn't help but get lost in all the craziness, and here's hoping next issue is just as fun.
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You'll need to pick up X-Force to find out how this excursion end, but if you don't particularly care too much about how Wolverine gets a sword, you may want to skip this issue.
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If you were left scratching your head by the other comics, you'll equally be perplexed by the general creative choices made for this event.
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Wolverine #8 transitions away from the "Sword of X" nonsense and back towards the more gritty tone established in the initial few issues.
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Wolverine #9 is... perfectly fine.
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There's a bit of general intrigue at play with whose side Maverick is on, along with the CIA's poking into Krakoa's business. But otherwise, this is pretty standard and unimpressive stuff.
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While Wolverine and vampires might not seem like a natural fit, this comic has found a way to make it all work, even if it does feel a bit too convoluted at times, with the inclusion of Omega Red and a French vampire hunter introduced at the start of the series.
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World of Tanks Citadel is both a standard war comic and a standard Garth Ennis.
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It's an interesting premise that provides the team with a strong direction from the outset, even if the comic struggles to make good use of it.
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This remains a polarizing comic, one that justifiably has earned its fans but also seems to miss as much as it hits.
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I'm not sure why X-Factor is ending"the fan support was definitely there and it had a lot more relevance than some other X-Books"but we'll at least get to see these characters enjoy a big Gala... which frankly feels like this comic's place to shine.
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Given what happens in the last page of this issue, X-Factor's weaknesses are a worrying sign for the upcoming Trial of Magneto miniseries, which kicks off in just over a month.
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The art in Art Brut is great, but artwork alone can't save this book from rising above mediocrity.
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This is a grim, joyless comic " not really my style, but I'm sure some folks will enjoy this.
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This comic would be enjoyable as a one-shot if not for the fact that we read a variation of this story multiple times over the past few months. This feels a bit excessive and gratuitous.
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I think this comic has promise (and has a creative team that's certainly capable of telling a good superhero story), but this issue isn't a strong opening chapter for what's supposed to be a marquee limited series.
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Batgirls #2 is about as a frantic as its debut issue.
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The most intriguing part of the comic is the presence of Harley Quinn (who is trying to restore Poison Ivy's psyche) and Jace Fox, the soon-to-be Batman replacing Bruce Wayne. Generally speaking, this comic mostly feels like it's playing the same tune as last year's "Joker Wars," but with a different instrument.
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Blood Tree hasn't been that compelling yet, even with its slightly abnormal serial killer. It's not necessarily a bad comic it just feels very average at the moment.
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Unsurprisingly, Blue Book's secondary story continues to be immensely more interesting than its primary story.
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Maybe I'm not the target reader for this kind of comic, but I'm truly disappointed that the script makes no attempt to make these sort of historical urban legends original or unique in any way. Oeming's art is great, but in this case I feel like he's basically illustrating a wikipedia page.
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The comic has interesting stakes but I think this opening chapter feels a bit too much like moving pieces into position for an event than actually telling a good story.
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Sadly, this comic has a bunch of cool ideas but it's playing out too fast to its detriment.
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This has been the weakest Critical Role comic released by Dark Horse so far.
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Honestly, this is probably the weakest Detective Comics in recent months.
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"House of Gotham" remains the highlight of the series, with another great tie-in with past Batman history (although I'm not 100% sure how the condensed timeline works).
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Fans of Venom and Carnage will still enjoy this comic, but I feel like others might wait for a collection so they can get the whole story at once.
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After setting up an intriguing premise with the first issue, Out falls into a series of standard war tropes with its second issue.
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The comic feels very unfocused and stiff and is starting to lose steam.
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The art is a highlight for what is otherwise a dud of an issue.
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The Department of Truth would be a very good comic if its creative team could keep away from inserting the equivalent of a Wikipedia article into the middle of each and every single article.
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While there are some physics concerns (like how Cliff can manage to move so fast with his jetpack), this is a decently fun issue.
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While Sebela crafts a compelling story for the Hitman franchise's historically boring protagonist, he's largely let down by Ariel Medel's artwork, which is bland even in action scenes.
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I appreciate that this comic is trying to bring some nuance into a video game franchise that's always been more about emotionless murder fantasies, but it's still hard for me to care about either 47 or Diana.
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A disappointing issue, but this comic's generated enough goodwill to see what happens next.
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This isn't a bad comic per se, just one that lacks relevance and only exists to exist.
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The Avatar comic is as mediocre as the Avatar movie, only without Cameron's impressive CGI budget and effects to back it up.
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Aaron's Avengers run was forgettable while it was still ongoing and this finale doesn't do much to increase its stock.
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The creative team is obviously going for some poignancy here, but honestly it's handled about as well as a lot of stories that concern Stark's alcoholism, which is to say that it's not handled well at all.
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This series has been a good focus on Robbie Reyes and what separates him from other Ghost Riders, but the series just has not lived up to its epic billing.
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This issue will appeal to older fans of the Avengers, but the comic spends a bit too much time losing itself in its past instead of trying to tell a compelling story.
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Coupled with the frantic narration and pace of the comic, the result is a comic that's has good vibes but a frustrating reading experience.
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Sadly, this issue is a letdown and serves mostly as a harbinger that Batman Beyond is about to go where plenty of previous Batman/Joker stories have gone before.
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If you're looking to read the adventures of Scarlet Spider in a locale that's not New York, you'll like this issue. Otherwise, take a pass.
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This issue is a totally superfluous tie-in, necessary only for current readers of the series.
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This still isn't a very good superhero comic, but I enjoyed Will Sliney's artwork, especially in the first couple of pages as Reilly contemplates the consequences of his (many) poor decisions.
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Ben Reilly's latest excursion with the supernatural takes an unfortunate turn in the latest issue of Scarlet Spider #19.
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This wasn't a terrible issue, but I feel like this plot would have worked better with X-Factor than two reject Spider-Men.
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I'm not sure if the ambiguous ending is what Reilly fans wanted, but it's probably what the character deserved after such an uneven and frustrating series.
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I may have issues with Tony Isabella's plot in this miniseries, but it's clear that he still understands the core of what makes Black Lightning so great.
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Honestly, Blue and Gold #5 felt very underwhelming, but it at least seems to be moving past its initial concept.
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The comic tries for an Unsolved Mysteries vibe but instead comes off monotone and frankly boring.
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While Oeming's art is always a blast, this comic's narration is so dry, it just kills any sort of wonder about flying saucers... which could be the point, although I somewhat doubt it.
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Honestly, Blue Book has mostly felt like a big whiff, despite the caliber of creators involved.
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There's a disjointed feel to this comic, as events important to the plot are brought up after the fact.
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The comic seems to explain why Bruno is fighting zombies on the Titanic (in a video game that hasn't come out yet), but honestly both the art and rather boring plot really makes it hard to care about the character or his past.
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This arc has the same problem as the Lanzing/Kelly Captain America book it rushes to a reveal that hasn't earned any emotional reward.
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The story here isfine, but the disappointing part is really the artwork, with Peggy Carter and Black Widow looking way too similar and the artwork really lacking any sort of distinct style whatsoever.
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Captain America: Sentinel of Liberty ends just as it begins with a rush to the finish.
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While Mack's art is gorgeous to look at, the comic suffers from a major narrative problem.
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Cover appeals to a very specific audience, and at this point readers have decided whether they love the comic or have moved on.
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Honestly, this is a very deflating ending for the latest Critical Role comics series.
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Darkhold: Blade #1 is an easily missable comic. It is neither a satisfying Blade story nor does it provide any deeper insight into the events of the Darkhold mini-event. It's simply a vampiric Mad Libs, a frantic mess that uses cheap twists in place of an actual plot.
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The story's a bit of a mess too, but the comic might have been salvageable with a less mottled color job.
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When she awoke last issue, I was curious how she would look at her husband's attempt to preserve her until he could find a cure. The results were... well, they were a bit underwhelming.
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The comic isn't necessarily bad, but it certainly implies the wrong message.
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Hopefully, a future writer can find something interesting to do with Mrs. Freeze, because this arc didn't really do her any favors. -
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This is a weird Batman story, and not a particularly good one.
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It also seems like this comic seems to be in a holding pattern of sorts, focusing on standalone stories with no wider theme until DC figures out its next steps.
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This is just a messy story arc and it looks like it'll get messier given the comic's intention to tie into Batman's "Joker War."
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It's an interesting story direction, one which could really explore Batman in a new fashion. Unfortunately neither the Mirror (a new anti-vigilante villain) nor these hints of the Black Casebook are really compelling, so we'll have to see if the action and interest picks up in future installments.
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Obviously, this is a "filler" arc designed to set up the next creative team, but I can't stress how disappointing this arc has turned out.
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I wish Tomasi could have gotten to go out on a stronger storytime, but I feel like a lot of his stories will be more fondly remembered over time.
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A bit of a let down from previous issues.
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This comic is mostly setting up the next major arc of the Batbooks, with more mood setting and piece laying than actual story.
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After a couple of really strong issues, Detective Comics feels like it's spinning its wheels this issue.
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The pacing is a mess, and it's hard for me to stay invested at this point.
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All in all, this is standard superhero fare, one that doesn't try to push the envelope or appeal to new readers in any way.
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Doctor Tomorrow would be a lot stronger comic if it didn't feel the need to bring in the entire Valiant Universe.
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I think this was a lovely but flawed comic, one that was very ambitious but struggled as the miniseries progressed. I like that it presented how D&D, though, and I hope that IDW tries more of these types of miniseries in the future.
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Honestly, the comic is a fine dose of nostalgia, but it hasn't really provided a particularly compelling hook or any sort of strong storytelling.
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Exiles could use a soft reset or a bit more conflict, which we might get next month judging from the last page.
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For a finale that promised answers, we really weren't given much, and I'm disappointed that the miniseries ended with an ending clearly meant to lead to a next chapter instead of giving readers any real resolution.
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As the story stands presently, it seems like Friendly Neighborhood Spider-Man is just riffing on a common topic on Twitter, and maybe we shouldn't tie every current societal problem to a bad guy that we can punch into submission.
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The tone of this comic still feels like a "classic" Spider-Man series, but this last arc should probably be quickly forgotten.
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This was a really disappointing and underwhelming issue from a plot sense, but it did have a handful of fun little moments between Spider-Man and his oldest friends to keep things bearable.
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This comic works best for those looking for a deeper dive into the full Song of Ice and Fire series, but don't want to commit to reading the books.
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This issue covers two chapters"Chapter 21 and Chapter 23"of A Clash of Kings. Landry Q. Walker once again does an impressive job of condensing Martin's plot into a 20 page comic. However, Mel Rubi's art is.... disappointing.
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Diplomatic intrigue can be done right in comics, but it requires something more than a straightforward script adaptation of a novel.
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The Blue Wall is a... weird comic. To be blunt, it feels like a TV show script turned into a comic, and not in a good way.
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God of War is a comic with a good premise that struggles with execution.
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Vendetti does provide an interesting Kryptonian perspective on the Green Lantern Corps during this issue, but this comic largely suffers from a case of "too much talking, not enough showing."
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Unfortunately, the issue is bogged down by Ethan Van Sciver's lifeless, emotionless, and static art. At some point, Van Sciver needs to learn that rotating a panel a few degrees doesn't make it more exciting.
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While the look into Gardner's head was interesting, most fans should be excited as the fight between the GLC and the Darkstars will finally start in earnest next issue.
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It feels like this series is trying to end on an epic bang, but this fight has started off with a whimper.
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Sadly, David Crosland's art is a mess. The Spartans look like Spartans, but the Covenant are almost unrecognizable at times, and the humans are equally rough looking.
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If you're looking for an action-packed war comic, Halo: Collateral Damage is not the comic for you.
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The action in this issue is mediocre, with lots of running and shooting, but little variation in how readers see it. It's just boring to watch people running and shooting at each other, especially when we only care about one of them.
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Sadly, this comic seems to exist only to exist, which is a shame given the strong creative team.
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While Adriana Melo's art is fantastic in this issue, that's really only the compliment I can give for a miniseries that wholly misses the mark on the Harley/Ivy dynamic and feels like an attempt to "reset" the characters for whatever is coming next.
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This might be the strongest issue of Heroes in Crisis yet, although previous issues of the comic have set a very low bar to surpass.
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House of Whispers has become a real struggle to read.
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House of Whispers remains an ambitious but jumbled mess of a comic.
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Ultimately, this issue felt like wasted time... which may have been the point. Falling back into old habits sucked all the energy out of this comic.
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If you enjoy abstractly drawn women in V-neck shirts that plunge to their navels and a mid-coital Wolverine, you'll love this comic.
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I wish I liked this comic more, but it feels like it's still missing a direction and spending too much time trying to reference the discourse without truly engaging in it.
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This is the worst I Am Batman issue in a hot minute, which is disappointing, as the comic seemed to finally be finding its footing.
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I Am Batman #15 is a pretty weird tie-in to Dark Crisis.
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Injustice vs. Masters of the Universe continues to be a bit of an imperfect union as Prince Adam and the residents of Eternia see the savageness and brutality of the Injustice universe's world firsthand.
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Injustice vs. Masters of the Universe is starting to get bogged down by the weight of juggling two worlds.
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I have no idea what's going on in this comic, but I don't think readers will much care as long as they get to see Superman and He-Man duke it out for a few pages.
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I've described this story as an action figure battle royale transformed into a comic, but now it seems that the action figure fight is starting to lack any sort of imagination and is just rushing through a bunch of teased fights to get to its finale.
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The comic would have been a lot stronger if it were a bit more focused, but there's probably little chance of a sequel so it seems likely the creative team wanted to get as much fan service in as they possibly could.
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While James Tynion IV does his best to keep this arc feeling important during Scott Snyder's brief break from the series, he's let down by a really bad showing by his artists that unfortunately make this issue look very much like a filler arc.
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Eddy Barrows delivers some solid art at times in this issue, but it's not enough to save a pretty bad fill-in arc.
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If you're enjoying the Dark Nights story, I'm sure this comic has value to you. Otherwise, take a pass.
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If you're a Death Metal reader, this arc likely has value to you. If you are avoiding that event, then this issue and this arc likely was a confusing mess.
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Overall, this is not a great showing by one of DC's tentpole books.
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King of Nowhere is a weird comic. Sure, that's to be expected of a comic about a town inhabited by animal/man hybrids and other strange creatures, but the comic also suffers from a bit of an identity crisis.
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This is a weird comic, but not a very engaging one.
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There's no way to relate to these characters or this story, and that's why it ultimately fails.
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While the comic contains some interesting concepts, they don't translate well into a comic, and it doesn't help that Lee is a terribly boring protagonist.
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The best Donald Duck comics have a sense of wonder and joyful humor in them, and this comic was sadly missing most of it save for the joy of watching classic Disney characters cosplay as Marvel heroes. While I'm a big Donald Duck fan, this comic book was a big miss.
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All in all, this was a decent homage to the Marvel Knights line that ultimately lacked the creative spark of what made those original comics so groundbreaking.
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This isn't a great Lovecraft story, a great detective story, or really any type of story at all.
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The main weakness of the comic is that it's too caught up in living in Lovecraft's world to try to tell a coherent story, and what we are left with is a dull, unimaginative mess.
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There's kids disappearing, there's a monster, there's a big industrial mill, and there are some very heavy hints that the three are connected. Because of that, it felt like a very serious adaptation of a Scooby-Doo mystery, in that you don't need to think too hard to start connecting dots. Maybe that will improve in upcoming issues, but the first issue of Morning in America left me feeling flat.
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This comic is a good concept that isn't translating well on the page, and hopefully it picks up in the coming months.
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A rare miss in an otherwise strong series.
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This is a bland adaptation of a fun movie.
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While this still isn't a particularly good comic, it at least manages to capture more of the quirkiness of Napoleon Dynamite in a natural way instead of struggling to replicate the movie's initial success.
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This is a rare disappointing issue in one of Marvel's strongest alt-timeline stories in years.
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This comic seems to be very much "not my thing," especially as the comic doesn't really seem to be very innovative in either story or style.
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Port of Earth isn't strong enough to stand out on story alone, so hampering the art with drab coloring really holds it back.
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While the first RoboCop movie was surprisingly nuanced in its discussion of the dangers of law enforcement privatization, its sequels and successors have failed to capture the spark of the original. Citizens Arrest, the new RoboCop comic by Brian Wood and Jorge Coelho, continues that trend of falling short by largely missing the point of the franchise.
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I don't know what sort of comic Citizen's Arrest wants to be -- and I don't think Citizen's Arrest does either.
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It's just another entry in a string of mediocre Watchmen knockoff comics that only serves to remind readers of the relative importance (and brilliance) of the original series in comparison.
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Rorschach #5 is perfectly... fine.
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This remains a nice to look at, but overall very dull comic.
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I just am not a fan of this weird trend of using actual comics creators as fictional characters, especially when they are being dragged out of their house or murdered by police.
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At this point, Rorschach #9 provides readers with more of the same, as the unnamed protagonist continues his plodding investigation of two would-be assassins.
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The meta-narrative surrounding the comic and its liberal use of creators as fictional characters is as interesting as the story itself, and that's not necessarily a good thing.
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As a finale, it's devoid of any sort of real surprise, ingenuity, or innovation - it simply feels inevitable and predictable, and that's not really what I want to spend time or money on.
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While both mysteries are pretty standard fare (a vampire is scaring away customers, a ghost is stealing technology from a technology fair!), I appreciated that the explanations for the hauntings weren't phoned in.
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I'm more intrigued by whether this comic will acknowledge Shaggy's omnipotence in a few months, or if they're just going to pretend like Shaggy's Internet godhood isn't a thing.
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If you're looking for mysteries, take a pass, but this is still a good comic to hand off to your kids.
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If you want your kids to learn a bit about the gradual erasure of a classic amusement park, pick up this comic today!
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What might have felt exciting or new 20 years ago just feels like more of the same now, and it's hard to point out one thing that this comic really excels at that other comics lack.
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Fans of Shatterstar will likely be disappointed by the book. Instead of leaning into all the weird things that separated Shatterstar from the dozens of other muscular, blade-slinging, teeth-gritting heroes of the 1990s, Shatterstar strips it all away, leaving him a husk of the character he once was.
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Shatterstar #2 is a mild improvement over the first issue, in that we at least get some solid action from the two characters that Shatterstar fans presumably want to see.
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The Shatterstar miniseries is a tale of two comics; the first is a compelling tale from Shatterstar's past, showing how he came to be a fearsome gladiator and also why he's unable to keep a healthy relationship in the present day, and the second comic is a simultaneously boring and spastic story about a dour Shatterstar scouring the universe for his missing tenants.
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Shatterstar's return to the arena is as violent as you'd expect, even if the comic remains a bit too stoic for its own good.
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This is a weird comic, as it mixes the wonderful weirdness of Grant Morrison with dull and generic creative choices, and it goes together like oil and water.
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This is a comic meant to entice kids to want Team Sonic Racing, and it does a decent job of selling the new Sega game.
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One of the perks about having a long-running creator-owned comic series is that you don't really have to rely on things like "action" or "excitement" to sell comics. If you want to open an issue with your hero broodily talking to a co-conspirator while a zombie gorilla eats corpses in the background, you can do that.
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This is a humor book that only a small segment of readers will actually laugh at.
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Multiple exposition-filled flashbacks and three different pencillers makes Spider-Man Deadpool #27 a confusing read.
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While this issue contain the typical non-stop action as "young" Deadpool and "old" Spider-Man tried to stop a never-ending army of LMDs, I felt this issue was very heavy on the dialogue, as Deadpool tried to work out his feelings of self-loathing.
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This is one of the weaker issues that Robbie Thompson has written, and I can't help but wonder if the book needs get away from its current storyline to re-find its groove.
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This comic makes the mistake that readers will actually know who the Eternals are and will care about them; the four Eternals fans out there will surely be thrilled!
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This is another mediocre issue of Spider-Man/Deadpool that focuses mostly on obscure Marvel characters fighting other obscure Marvel characters.
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I think we finally found the upper limit to Deadpool's meta-humor, and it comes one month before Spider-Man/Deadpool ends.
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Although the premise of the series could be interesting, the first issue lands with a resounding thud.
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It's a weird ending, and honestly a bit disappointing, considering it's such a strange turn from the rest of the series.
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This is definitely the weaker of Bendis's two Superman series, and I don't like that the book is quickly returning to its generic opening villain.
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Perhaps some of the Agents of Atlas's other new members will be a bit more dynamic and unique, but Sword Master isn't really convincing me that he's going to be a breakout series of the upcoming Marvel series.
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Sword Master really needs to try adding some depth to its title character. As of right now, he's just a one-note stereotypical hotheaded teen with a somewhat interesting backstory.
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This is the first issue of Sword Master that shows that its title character has some talent in something besides being generally clueless and untrained.
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There's a seed of a good comic in Black Order #1, but it remains to be seen whether the creative team can cultivate it into something worth reading.
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The series sadly didn't stick its landing, but it did make me more interested in the Black Order than I was during any previous Marvel comic or movie.
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While the comic captures the sinisterness of these conspiracy nuts and the lies they're peddling, it still struggles to present anything of real substance.
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There are bits of interesting storytelling and clever artistic flourishes here and there, but I feel like most readers that have stuck with the comic this long gets how the power of belief fuels just about everything in this world.
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Guest artist James Parson aside, it feels like The Department of Truth is reusing the same storytelling pattern over and over again. At this point, it feels less clever and more of a challenge to figure out how to tie weird bits of Americana conspiracy fodder into the lore of the series.
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This is the first issue of The Last God that really falls into the traditional tropes of fantasy, and the book is much poorer for it.
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While the character design and artwork is great, the plot and pacing (and also strangely the lettering) are a mess.
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The action sequences are fine there's been enough talking about the various magic and powers in the series to understand what's happening, but the actual story beats remains a mess.
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Honestly, this series is really struggling with its pacing. Hopefully it has a satisfying conclusion that provides an actual ending instead of an abrupt stop like past issues.
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The Lion & The Eagle continues to be an uncomfortable read. This is a gory war comic, with all the over-the-top violence that you'd expect out of a Garth Ennis comic.
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The story itself isn't anything particularly special, and Yapur's photo-realistic artwork is marred by the choice to head to an impoverished Haitian village to seek out the secret to reanimation.
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This is all nostalgia and nothing else, perfect for fans of the old Rocketeer comics and not much else.
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It's very 1990s, but in a good way.
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The Silencer remains a giant mess of a comic, but it does receive a big upgrade on art with the arrival of Patch Zircher on art. Zircher brings a much cleaner style to The Silencer, which has been plagued by choppy layouts and inconsistent line art over the last few issues.
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While The Terrifics is supposed to be a homage of sorts to the Silver Age Fantastic Four comics, right now it just feels like a pale imitation at best.
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It's an interesting take on a popular sci-fi story, one that doesn't always work, but at least differentiates it from other series.
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Although Geralt's smoldering stoicism matches that of his depiction in the games, the comic mostly is just standard fantasy fare, with nothing that really separates it from other generic fantasy titles.
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While this comic will be intriguing to Transformers fans, it's hard for anyone else to really understand or enjoy it, as it requires some deeper understanding of Transformers lore.
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I don't know why we needed three issues to explain that the Constructicons are dopes that didn't realize why they were feared by the powers that be, but hopefully there's a big payoff in the next issue.
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Listeners of the podcast will enjoy this comic (especially the art by Connie Daidone) but newcomers will want to head towards the podcast first if they want to get a real feel for the show.
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While other podcast to comic adaptations have been more successful, I feel that Voyage to the Stars simply wasn't well defined enough to provide the comic with the material it needed to succeed.
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War Is Hell #1 is an odd comic that's mostly bland, even when it's trying to make its readers uncomfortable.
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The main problem with this issue is that there's 10 heroes to juggle in this series, and only a few are established characters. The new characters don't really get more than a moment or two to shine, so they all seem sadly generic outside of their character designs.
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"Agents of Atlas" continues to be a fun but thin team book that struggle with giving its individual characters moments to shine.
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While the "twist" in this issue is clever, reading this series does not inspire any confidence in the upcoming Agents of Atlas series coming out later this year. Hopefully, some of these new heroes will develop a personality in the next two months.
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Studio Hive's art is all right in that "clearly drawn on a computer" style that Top Cow likes to use, especially for those comics fans who feel that comic panels don't deserve backgrounds.
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This is still a weird comic, but it's better than the disaster of a first chapter.
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The comic leans into the strange of Wild Cards a bit more (with some surprisingly disturbing imagery) and feels a bit more like a comic than... whatever the previous two issues were.
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Witchblade is suffering from trying to throw too much at the readers at once, causing critical details to get lost in the process.
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Hopefully, Witchblade turns around quickly, as this second arc has really dragged down the promise of the comic.
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It feels like a very "color by the numbers" Wolverine story, which is a waste of Adam Kubert artwork.
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A scene where Wolverine drinks Magneto under the table doesn't make this comic worth buying, but I think this series (much like Wolverine himself) is still trying to find itself.
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While this comic is an interesting look at how certain creators perceive Wolverine (as brainwashed berserker, non-brainwashed berserker, or ramen cook), it ultimately is a fluff comic that adds nothing to the character of Wolverine.
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This comic feels somehow incomplete, or in need a few more pages to help casual readers understand the book.
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The art here is rough and there's too much chatty exposition while fighting vampires for my liking (although, to be fair, if anyone is going to chatter while fighting vampire hordes, it would be Jubilee), but if you enjoy callbacks to mediocre decade old X-Men comics, you will like this.
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Honestly, this is a pretty standard and forgettable plot with mediocre artwork, but at least the team is trying to grow out the flimsy mythology and lore of Avatar ahead of the new movie.
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Frankly, I just don't get Blue Book. Maybe it's because all of the information here is something I've read about before, but I hope that a third installment of this comic is preceded by some research on how to make history more interesting in comic form.
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This comic is trying to take a long hard look at being a cop, but it ended up going off the deep end into something that's just... implausible at best.
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King is slowly revealing a mystery here, but I'm not sure if anyone is going to care by the time he gets to the real meat of it.
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There's not a lot of innovation going on in this comic, but if you enjoy the characters and the hits getting played, I'm sure you'll enjoy this miniseries.
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The pacing of this issue isn't as terrible as it was in previous episodes, but the art is still a mess.
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The art is stiff, the plot and dialogue are bad, and this is probably one of the worst chapters we've seen in the Aliens franchise.
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The story is bland, the art is mediocre, and there's a lack of originality and wonder in the aesthetics of Pandora that was present in the movie. I am not sure why this comic exists.
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This comic is basically an advertisement for why an expanded Avatar franchise is still a big risk as it gives no indication that the stories are anything more than an excuse to show off new CGI effects.
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Tsu Tey's Path is a reminder of all the problematic elements of Avatar: its stereotypical depiction of aboriginal people, its rather bland characters, and its unimaginative storyline.
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This is not a good comic.
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If you haven't watched the movie in a while and want a refresher on parts of the second act, this is a good comic to go to. Otherwise, don't bother reading, as this issue is as stiff and lifeless as previous issues.
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This is a cringeworthy comic, and it serves as a reminder of how mediocre the original Avatar movie was.
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This is a bad comic on every conceivable level and provides a prime exhibit why the Avatar franchise should stay dormant for good.
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Avengers Forever #7 is really not my jam.
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While I've enjoyed Googe's rather unique take on the Batgirls, this issue is just amateurish at best. Just really disappointing all around and makes the comic almost unreadable.
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Honestly, this comic just was a dud for me it cheapened a horrific war and America's role in it to make a weirdly unaffected and so far mediocre version of Batman.
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Ben Reilly: Scarlet Spider might have just had the worst event tie-in in recent history.
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This is the comic equivalent of having sand in your eyes while a ten year old kicks you in the crotch repeatedly. It's a miserable experience.
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There's a lot of noise in this issue, but little of substance.
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Humor is hard to do, and it's a shame that Marvel didn't reach out to some of the recently laid off Mad writers to get some folks with more experience for this (thankfully) one-off experiment.
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Almost every panel looks out of focus and blurry, like a piece of runny watercolor art. It's noticeably terrible, and a worrisome sign about how seriously Titan Comics is taking the franchise.
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This issue does not inspire any confidence in the wider Joker arc.
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This is not a good superhero comic at all.
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I'm not sure what happened with "The Tower," but this was one of the least coherent superhero comics I've read in quite a while.
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We're supposed to care about everything that led up to the events seen in this issue, but there's too much deliberate misinformation and twists to make anyone really get invested.
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Even Gears of War fanatics will have trouble finding something fun to say about this issue.
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Honestly, this comic does the franchise no favors, and I'd rather watch paint dry than pick up a Gears of War game if they're anything like these comics.
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At this point, I'm just glad that this arc (and the series) is coming to an end soon.
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Overall, Heroes in Crisis suffers from trying to wrap its hands around some weighty subjects without really knowing what to say.
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For a comic filled with women wearing shirt skirts and low cut dresses, you'd think there'd be a little more emphasis on actually giving these characters sex appeal instead of blowing up their chests to ridiculous sizes.
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We've seen similar comics do a lot more in a lot more interesting ways, so don't bother to read The King of Nowhere.
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Ultimately, the story is a weird one, the art is mediocre, and the use of actual Catholic tradition with the serial numbers filed off is just weird.
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The comic wants to be a Flash Gordon-esque space opera, but it comes off like a bad movie that gets mocked on Mystery Science Theatre 3000.
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This is a wretched mess of a comic too caught up in its billing as a "high concept space opera" to actually try to produce a coherent storyline.
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This is a bad science fiction series, an example of why an ambitious story isn't enough in the world of comics.
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If you haven't seen the film, this comic will make you not want to see the sequel.
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It would be a much better value to simply rent the original film than waste your money or time reading this comic.
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I enjoyed the last issue of this series, and it's disappointing to see the quality of this comic diminish so much after just one issue.
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The whole story comes to a rushed conclusion, and leaves us with more questions than answers.
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This entire comic feels like it's just going through the motions, which is a shame because the core premise had the promise to be interesting.
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Honestly, Miskatonic is a mediocre comic dragged down even further by bad art.
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Sadly, this is not a good comic.
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The One is a product of it's time, but I'm not sure of its relevance today, especially as Veitch has written and drawn more thought-provoking comics since.
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I didn't realize that DC Comics was in the business of writing bad fan-fiction of the recently deceased, but here we are.
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Rorschach #7, for better or for worse, will be a much discussed comic for a number of years. It's not a particularly captivating or compelling comic"like the previous issues, we get a lot of talking and vague philosophizing and some very weird alternate universe theorizing of what the comics industry would be like in the world of Watchmen. But the real weirdness of the comic is that it is mostly a Frank Miller monologue.
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The comic feels a lot like the recent slate of Scooby Doo movies released on Cartoon Network; they look like the originals, but they lack the spirit and goofiness of the classic cartoons.
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If your kids are a fan of one of the classic Scooby-Doo shows (the ones that pre-date Scrappy Doo), they might enjoy this comic. Otherwise....give this comic a pass, as it doesn't do much besides poorly ape a franchise that has mostly grown past its 1960s origins.
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If you like dumb fart jokes, you'll like this comic, otherwise avoid at all costs.
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I'm not sure who this is made for, as the children who would like this humor probably don't know who Spawn is.
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If you enjoy seeing sentient "turd baby" versions of Spawn spray diarrhea on a Thanos parody, this comic is for you.
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Spider-Force is a mess of a comic, a collection of bickering Spider-People trapped on a dead Earth while a vampire lurks in space above them.
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Spider-Force is probably Christopher Priest's weakest comic since he returned to superhero work.
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I don't know what else to write about this comic"it's bad, the storytelling and characterization are lazy, and the art is wholly mediocre.
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At this point, only fans of this character (and honestly I don't see there being many) are picking up this comic and there's no incentive for anyone else to pick it up and read it.
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The Department of Truth #3 flops really hard this week.
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This comic has struggled from the onset with telling a coherent story, which is a shame because it's clear that the creators are passionate about the world and the characters.
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If you want to watch a "retired" assassin murder dozens of people in front of their kid, The Silencer is the comic for you.
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I'm not sure whether bad scripting or bad art is to blame for this mess of an issue, but Silencer is one of the more poorly thought out comics of 2018.
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Overall, this remains a dud of a series, and hopefully one coming to an end soon.
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I have to admit, it's a bit impressive to find the most mundane part of a Grant Morrison and then craft an extended storyline around it, but that's just what The Silencer has done.
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Unless you are desperate for Witcher content, it's best just to skip this book.
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Tomb Raider: Inferno is a great character study of Lara Croft, but is lousy at just about everything else.
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This is a real struggle of an adaptation and should be a hard pass for all parties.
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