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.

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.

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.

This is not a good comic.

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.

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.

This is a cringeworthy comic, and it serves as a reminder of how mediocre the original Avatar movie was.

This is a bad comic on every conceivable level and provides a prime exhibit why the Avatar franchise should stay dormant for good.

Avengers Forever #7 is really not my jam.

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.

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.

Ben Reilly: Scarlet Spider might have just had the worst event tie-in in recent history.

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.

There's a lot of noise in this issue, but little of substance.

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.

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.

This issue does not inspire any confidence in the wider Joker arc.

This is not a good superhero comic at all.

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.

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.

Even Gears of War fanatics will have trouble finding something fun to say about this issue.

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.

At this point, I'm just glad that this arc (and the series) is coming to an end soon.

Overall, Heroes in Crisis suffers from trying to wrap its hands around some weighty subjects without really knowing what to say.

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.

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.

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.

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.

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.

This is a bad science fiction series, an example of why an ambitious story isn't enough in the world of comics.

If you haven't seen the film, this comic will make you not want to see the sequel.

It would be a much better value to simply rent the original film than waste your money or time reading this comic.

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.

The whole story comes to a rushed conclusion, and leaves us with more questions than answers.

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.

Honestly, Miskatonic is a mediocre comic dragged down even further by bad art.

Sadly, this is not a good comic.

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.

I didn't realize that DC Comics was in the business of writing bad fan-fiction of the recently deceased, but here we are.

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.

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.

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.

If you like dumb fart jokes, you'll like this comic, otherwise avoid at all costs.

I'm not sure who this is made for, as the children who would like this humor probably don't know who Spawn is.

If you enjoy seeing sentient "turd baby" versions of Spawn spray diarrhea on a Thanos parody, this comic is for you.

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.

Spider-Force is probably Christopher Priest's weakest comic since he returned to superhero work.

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.

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.

The Department of Truth #3 flops really hard this week.

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.

If you want to watch a "retired" assassin murder dozens of people in front of their kid, The Silencer is the comic for you.

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.

Overall, this remains a dud of a series, and hopefully one coming to an end soon.

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.

Unless you are desperate for Witcher content, it's best just to skip this book.

Tomb Raider: Inferno is a great character study of Lara Croft, but is lousy at just about everything else.

This is a real struggle of an adaptation and should be a hard pass for all parties.

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.

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.

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.

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.

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.

The pacing of this issue isn't as terrible as it was in previous episodes, but the art is still a mess.

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.

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.

A disappointing issue, but this comic's generated enough goodwill to see what happens next.

This isn't a bad comic per se, just one that lacks relevance and only exists to exist.

The Avatar comic is as mediocre as the Avatar movie, only without Cameron's impressive CGI budget and effects to back it up.

Aaron's Avengers run was forgettable while it was still ongoing and this finale doesn't do much to increase its stock.

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.

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.

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.

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.

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.

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.

This issue is a totally superfluous tie-in, necessary only for current readers of the series.

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.

Ben Reilly's latest excursion with the supernatural takes an unfortunate turn in the latest issue of Scarlet Spider #19.

This wasn't a terrible issue, but I feel like this plot would have worked better with X-Factor than two reject Spider-Men.

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.

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.

Honestly, Blue and Gold #5 felt very underwhelming, but it at least seems to be moving past its initial concept.

The comic tries for an Unsolved Mysteries vibe but instead comes off monotone and frankly boring.

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.

Honestly, Blue Book has mostly felt like a big whiff, despite the caliber of creators involved.

There's a disjointed feel to this comic, as events important to the plot are brought up after the fact.

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.

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.

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.

Captain America: Sentinel of Liberty ends just as it begins with a rush to the finish.

While Mack's art is gorgeous to look at, the comic suffers from a major narrative problem.

Cover appeals to a very specific audience, and at this point readers have decided whether they love the comic or have moved on.

Honestly, this is a very deflating ending for the latest Critical Role comics series.

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.

The story's a bit of a mess too, but the comic might have been salvageable with a less mottled color job.

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.

The comic isn't necessarily bad, but it certainly implies the wrong message.

Hopefully, a future writer can find something interesting to do with Mrs. Freeze, because this arc didn't really do her any favors. -

This is a weird Batman story, and not a particularly good one.

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.

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."

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.

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.

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.

A bit of a let down from previous issues.

This comic is mostly setting up the next major arc of the Batbooks, with more mood setting and piece laying than actual story.

After a couple of really strong issues, Detective Comics feels like it's spinning its wheels this issue.

The pacing is a mess, and it's hard for me to stay invested at this point.

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.

Doctor Tomorrow would be a lot stronger comic if it didn't feel the need to bring in the entire Valiant Universe.

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.

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.

Exiles could use a soft reset or a bit more conflict, which we might get next month judging from the last page.

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.

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.

The tone of this comic still feels like a "classic" Spider-Man series, but this last arc should probably be quickly forgotten.

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.

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.

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.

Diplomatic intrigue can be done right in comics, but it requires something more than a straightforward script adaptation of a novel.

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.

God of War is a comic with a good premise that struggles with execution.

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."

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.

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.

It feels like this series is trying to end on an epic bang, but this fight has started off with a whimper.

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.

If you're looking for an action-packed war comic, Halo: Collateral Damage is not the comic for you.

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.

Sadly, this comic seems to exist only to exist, which is a shame given the strong creative team.

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.

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.

House of Whispers has become a real struggle to read.

House of Whispers remains an ambitious but jumbled mess of a comic.

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.

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.

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.

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.

I Am Batman #15 is a pretty weird tie-in to Dark Crisis.

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.

Injustice vs. Masters of the Universe is starting to get bogged down by the weight of juggling two worlds.

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.

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.

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.

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.

Eddy Barrows delivers some solid art at times in this issue, but it's not enough to save a pretty bad fill-in arc.

If you're enjoying the Dark Nights story, I'm sure this comic has value to you. Otherwise, take a pass.

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.

Overall, this is not a great showing by one of DC's tentpole books.

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.

This is a weird comic, but not a very engaging one.

There's no way to relate to these characters or this story, and that's why it ultimately fails.

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.

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.

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.

This isn't a great Lovecraft story, a great detective story, or really any type of story at all.

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.

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.

This comic is a good concept that isn't translating well on the page, and hopefully it picks up in the coming months.

A rare miss in an otherwise strong series.

This is a bland adaptation of a fun movie.

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.

This is a rare disappointing issue in one of Marvel's strongest alt-timeline stories in years.

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.

Port of Earth isn't strong enough to stand out on story alone, so hampering the art with drab coloring really holds it back.

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.

I don't know what sort of comic Citizen's Arrest wants to be -- and I don't think Citizen's Arrest does either.

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.

Rorschach #5 is perfectly... fine.

This remains a nice to look at, but overall very dull comic.

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.

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.

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.

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.

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.

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.

If you're looking for mysteries, take a pass, but this is still a good comic to hand off to your kids.

If you want your kids to learn a bit about the gradual erasure of a classic amusement park, pick up this comic today!

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.

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.

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.

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.

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.

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.

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.

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.

This is a humor book that only a small segment of readers will actually laugh at.

Multiple exposition-filled flashbacks and three different pencillers makes Spider-Man Deadpool #27 a confusing read.

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.

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.

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!

This is another mediocre issue of Spider-Man/Deadpool that focuses mostly on obscure Marvel characters fighting other obscure Marvel characters.

I think we finally found the upper limit to Deadpool's meta-humor, and it comes one month before Spider-Man/Deadpool ends.

Although the premise of the series could be interesting, the first issue lands with a resounding thud.

It's a weird ending, and honestly a bit disappointing, considering it's such a strange turn from the rest of the series.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

While the character design and artwork is great, the plot and pacing (and also strangely the lettering) are a mess.

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.

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.

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.

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.

This is all nostalgia and nothing else, perfect for fans of the old Rocketeer comics and not much else.

It's very 1990s, but in a good way.

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.

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.

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.

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.

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.

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.

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.

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.

War Is Hell #1 is an odd comic that's mostly bland, even when it's trying to make its readers uncomfortable.

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.

"Agents of Atlas" continues to be a fun but thin team book that struggle with giving its individual characters moments to shine.

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.

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.

This is still a weird comic, but it's better than the disaster of a first chapter.

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.

Witchblade is suffering from trying to throw too much at the readers at once, causing critical details to get lost in the process.

Hopefully, Witchblade turns around quickly, as this second arc has really dragged down the promise of the comic.

It feels like a very "color by the numbers" Wolverine story, which is a waste of Adam Kubert artwork.

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.

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.

This comic feels somehow incomplete, or in need a few more pages to help casual readers understand the book.

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.

The art in Art Brut is great, but artwork alone can't save this book from rising above mediocrity.

This is a grim, joyless comic " not really my style, but I'm sure some folks will enjoy this.

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.

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.

Batgirls #2 is about as a frantic as its debut issue.

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.

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.

Unsurprisingly, Blue Book's secondary story continues to be immensely more interesting than its primary story.

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.

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.

Sadly, this comic has a bunch of cool ideas but it's playing out too fast to its detriment.

This has been the weakest Critical Role comic released by Dark Horse so far.

Honestly, this is probably the weakest Detective Comics in recent months.

"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).

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.

After setting up an intriguing premise with the first issue, Out falls into a series of standard war tropes with its second issue.

The comic feels very unfocused and stiff and is starting to lose steam.

The art is a highlight for what is otherwise a dud of an issue.

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.

While there are some physics concerns (like how Cliff can manage to move so fast with his jetpack), this is a decently fun issue.

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.

Hopefully, this arc gets some addition payoff soon.

Amazing Spider-Man: Renew Your Vows wraps up its latest arc by showing that not every superhuman arc needs to be solved with violence.

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.

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.

Art Brut remains very weird and colorful, although its depiction of mental illness remains distressing.

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.

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.

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.

I'm not sure that I'm really into the strange vibe this comic gives off, but it will certainly appeal to some.

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.

This is a perfectly fine issue that continues the themes of previous chapters.

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.

If you enjoy European-style comics or high concept sci-fi, you'll probably like this new Barbarella series.

I really want to like this comic, but I feel like it's still missing a crucial step somewhere.

Batgirls ends the way it began, with more vibes than a tight story.

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.

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.

Batman/Teenage Mutant Ninja Turtles II #4 injects a mixture of melodrama and poor decision-making into an already Venom-boosted storyline.

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.

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.

The story is very grim and serious and not very new reader friendly, but it should keep Batman Beyond fans entertained.

Terry continues to rebuild as Gotham quickly shifts and changes around him.

This comic will definitely disturb you, which is precisely what it's trying to do.

Bedtime Games gets creepier and creepier, as the demonic Mr. Bedtime inches closer and closer to the three protagonists of the story.

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.

Scarlet Spider isn't as good as X-Factor, but the book seems to be trending in the right direction.

The Scarlet Spider gets really dark. Really, really dark.

One of the best written issues of Ben Reilly: Scarlet Spider is marred by new series artist Bruno Oliveira's uneven art.

It's just a little odd to see Jack Burton portrayed as a Kurt Russell bobblehead, complete with an oversized head.

It's a touching issue, a calm before the storm of what's sure to be a hectic and deadly final arc.

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.

This is a solid comic, focused on building a mystery but shows little ingenuity outside of its plot for now.

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.

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.

Choppy paneling aside, this is a solid comic and a must-read for those who enjoyed the game.

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.

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.

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.

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.

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.

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.

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.

This isn't the best book, but it's slowly getting better.

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.

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.

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.

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.

Copperhead is a pretty good sci-fi comic that's let down by its art style.

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.

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.

This is an interesting comic, but one that doesn't have much appeal outside of Critical Role fans.

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.

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.

Writer Charles Soule is walking a very thin line right now between crazy awesome and absurdly stupid.

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.

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.

All in all, this is a fun but probably not necessary superhero one-shot.

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.

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.

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.

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.

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.

I'll give this arc more time before making a final decision, but the whole issue definitely caused some skeptical eyebrow raises.

All in all, a perfectly acceptable Batman comic.

Everything starts to fall apart in Detective Comics #1053.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Echolands is still a joy to look at, but something felt a bit less satisfying here.

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.

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.

Folklords, a tale about a fictional character dreaming of the "real world," starts to get even more meta in its penultimate issue.

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.

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.

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.

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.

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.

This is still a weird comic, but it's finding its footing more and leaning more into the "Gotham" of the GCPD.

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.

This ultimately is a fun and fluffy God of War comic, one where the stakes are low but the potential for entertainment is high.

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.

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.

Goddess Mode #5 is a surreally illustrated comic with a dense plot that is at times hard to follow.

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.

The fight doesn't reach the epic levels of past Green Lantern arcs, but most fans of the series should enjoy it.

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.

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.

It feels like there's a disconnect between the conversation this book wants to have and the actual events of the comic.

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.

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.

Hal Jordan and the Green Lantern Corps' final arc ends with a mostly enjoyable finale that wraps up all of the series' loose ends.

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.

Unfortunately, I think Harley and Ivy fans will be disappointed by this issue.

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.

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.

All in all, it's a perfectly fine issue but doesn't really innovate or explore the characters in any sort of interesting way.

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.

This is probably the first issue that actually spends major times developing both plots, and it improves considerably as a result.

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.

All in all, this comic feels more like Rorschach-esque King instead of Mister Miracle-esque King and that's not a good thing.

The Human Target is a perfectly fine comic with very solid artwork and a slightly obnoxious plotline.

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.

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.

The series is definitely something different, but it's often a mixed bag whether that's a good or bad thing.

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.

Injustice 2 continues to be the DC Universe comic that fans have wanted for years -- albeit in a very bloody format.

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.

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.

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

The last page reveal is also a doozy and should set up some craziness in upcoming issues.

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.

Overall, Injustice vs. Masters of the Universe is a rather standard setup to what should be a fun crossover series.

If you're into Garth Ellis's take on super-spies and British politics, this comic will be your jam.

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.

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.

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.

In the end, Justice League #28 does what it needs to do, and it sets up a big epic event for the fall.

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.

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.

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.

The fun is still there, but the gravity is unfortunately a bit wasted due to how quickly everything is moving.

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.

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.

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.

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.

Justice League just feels very out of place right now, and that makes it a hard sell.

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.

If you aren't following the events of the DC Universe closely, take a pass.

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.

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.

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.