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.

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.

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.

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.

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.

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

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.

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.

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.

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.

This is not a good comic.

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.

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

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

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.

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 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.

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

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.

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.

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

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.

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.

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

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.

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.

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

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.

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.

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.

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 comic isn't groundbreaking by any stretch, but it's fun, and fans of the Witchblade franchise in particular will enjoy it.

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.

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.

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!

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.

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

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.

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

Once again, it's mostly standard superhero fare, but it does end on a tease that should have Marvel fans coming back next issue.

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.

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.

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.

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

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.

After four issues, Rorschach finally gets a bit more interesting, although that's faint praise given the previous issues.

Rorschach #5 is perfectly... fine.

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

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.

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.

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.

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 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.

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

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

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.

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.

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

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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

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.

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.

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.

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

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.

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.

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

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

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.

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

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.

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.

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

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.

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.

Shatterstar ends with a somewhat sweet ending that wraps up this mediocre miniseries nicely.

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 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.

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.

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.

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.

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.

This is a perfectly fine Rocketeer comic, but nothing too special.

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

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

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.

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.

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

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).

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.

This is a bland adaptation of a fun movie.

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.

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.

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.

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.

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.

King of Nowhere #1 is an intriguing opening chapter that blends the surreal and the depressing.

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.

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.

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

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.

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

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.

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.

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

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.

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 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.

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.

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.

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.

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.

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

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.

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.

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.

If you enjoy some simple Batman stories, Legends of the Dark Knight #6 is for you.

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.

Neither are particularly deep looks into Batman's psyche, but I think Batman fans will enjoy them for the most part.

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

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.

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.

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.

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.

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.

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

This book has lots of fun moments, weaves through several books' worth of continuity, and stays accessible to new readers.

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.

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."

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.

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 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.

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.

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

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

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.

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.

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.

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.

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.

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

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.

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.

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

Avengers Forever #7 is really not my jam.

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.

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.

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 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.

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

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.

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.

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.

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.

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.

The Warning isn't your typical sci-fi book, but people who enjoy serious military stories will connect with it the most.

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.

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.

My interest was definitely piqued by this issue, although it remains to be seen if we'll get something meaningful next month.

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.

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.

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.

House of Whispers has become a real struggle to read.

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

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

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.

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

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.

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.

This is a pretty standard superhero fare -- lots of fighting, lots of pieces moving, but not a ton of character development or memorable moments.

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.

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.

Spider-Man/Deadpool #33 feels like a classic Spider-Man comic, but with a steady stream of Deadpool sputtering meta-nonsense on every page.

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.

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.

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.

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.

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.

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.

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.

Most of the jokes in this issue don't really land, but the one that does is genuinely hilarious.

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.

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.

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.

Spider-Man and Deadpool are trapped in a crossover event, and it seems the only way out is to get really, really meta.

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

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.

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.

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.

Omega Red also makes an appearance and hopefully, the long-promised fight between Wolverine and vampires will get a lot more interesting next issue.

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.

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.

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.

Wolverine #8 transitions away from the "Sword of X" nonsense and back towards the more gritty tone established in the initial few issues.

Wolverine #9 is... perfectly fine.

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.

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.

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.

A great debut issue that sometimes gets too caught up in using violence and mental illness for laughs.

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.

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

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.

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

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.

This is a great jumping in point for the series and sets up a big return that should make every Batman fan happy.

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.

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.

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

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.

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.

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

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.

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 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.

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

Cover feels like Brian Bendis's love story to the comic industry....while also being an okay spy story.

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

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.

This is a weird comic, but in the best possible way.

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

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.

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.

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.

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.

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

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.

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.

While probably not necessary to enjoy "Lazarus Planet," this comic is probably a good launching point for many of the upcoming tie-in series.

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.

There's a manic energy in Leviathan, perhaps a bit too manic for my liking, but it's still an enjoyable lighthearted read.

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.

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.

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.

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.

While the comic doesn't feature much for "Loseid" fans ("Darkis"?), most of the stories are decent -- or at least not actively bad.

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.

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.

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?

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.

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.

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.

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.

It's a nice, simple story, one that highlights some of the differences between Morales and Peter Parker.

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.

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.

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.

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.

Strayed suffers from very poor pacing.

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 a solid first issue, but it's unclear what direction the comic is heading.

If you enjoy epic science fiction series, this looks like a lot of fun -- just pick up the first Swashbucklers series first.

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.

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.

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.

Derek Landy and Philip Tan have made me care about the Black Order.

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.

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.

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.

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.

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.

This isn't a fun read, but it's still a worthwhile one.

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.

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.

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.

Simply existing as a Sandman book isn't enough to make this comic either a sales success or a "good" comic.

This might be the best issue of The Silencer yet, although that's not exactly high praise given the mediocre quality of past issues.

. 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.

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.

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.

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.

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.

Transformers: Galaxies ends its Constructicon arc by showing just how powerful and dangerous Devastator (the combined form of the Constructicons) really is.

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.

In the end, this is a fun (if unimportant) issue, one that most Transformers fans will enjoy.

Ultimately, Typhoid Fever is an ambitious comic that struggles with execution, but is still intriguing enough to keep reading.

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.

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.

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.

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.

World of Tanks Citadel is both a standard war comic and a standard Garth Ennis.

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.

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.

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

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.

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.

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.

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.

The full power of the Witchblade finally makes an appearance in Witchblade #5.

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.

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.

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.

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

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.

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

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.

This isn't a perfect issue, but it's an improvement over the last arc, and I'm curious to see what happens next.

Batman: Dark Age is a fun comic that tinkers with Batman's origin story, but doesn't break it.

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.

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.

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.

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

This is still a strangely straightforward crime comic, but it's not a bad one.

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.

While the story is still a bit formulaic at times, that doesn't mean that the crime comic isn't an enjoyable read.

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.

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.

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.

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.

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.