It may not be traditional science fiction, but that is where it stands out. The slight mix of superhero elements mixed in with a world of giant animals, allows this to be to read for teens and adults as well. It could be argued that is appropriate for children as well, but there are some scenes of a sensual nature. That eliminates the possibility of it being for children.

There is a nice balance of colors in this issue. However since this is broken down in a chapter style, it actually manages to brighten the world at first. Before Adam plunges into the infected land, in search of his son. The infected land is much darker, and drastically less vibrant than the uninfected world.

This is continues the contrast, and balance of light and dark in its color scheme. Even the presence of the darkness brought about by the creature, is greatly tipping the color scale, towards the dark as it spreads over the land. However some color still remains in the vibrant golden dress worn by Adam's wife is an abnormally bright spot. Along with the ocean, and its creatures oddly enough.

The cover done by Greg Ruth is an oddly,captivating masterpiece that only underpins the complexity of the story that lies contained beneath it. Even the artwork contained inside done by Daniel Warren Johnson continues the odd mystery of the main character. In contrast to the extreme amount of white that is where her soul is contained, the world of living is much more colorful. That gives the world the silent breath of life, and causes it to feel almost real.

While the story may be strange, the artwork byDaniel Warren Johnson is not. It does serve the purpose in spades, of amplifying the strangeness of the story. The amount of small details put into the background, is impressive.

The art by Daniel Warren Johnson continues the realism, as more occult influence begins to appear. Of course the art manage to create flashbacks of Dancy as she is brought out of the muddy waters of a swamp. The characters continue the streak of having a feeling of life, as they try to navigate the strangeness of the world.

The strange, creepy factor is defiantly kicked up a notch in the artwork. This issue is much more graphic, about the more occult role as things have nearly fully unfolded with only one issue remaining. Despite all the strangeness of the art, it is still superb.

Like the previous issues, the art is superb even if the world seems to grow some in this issue. The story of the reason of why Dancy was resurrected is extremely well done, showcasing the strange past of the supernatural world. While the final few pages are much more tragic in tone as Dancy's lover dies, showcasing the true power Dancy has buried within her.

The black and white style is great, helping to bolster some of the darker scenes. While lessening the darkness, of some of the more humorous scenes. Even the action scenes seem to use the monochrome color-scheme to its advantage.

Magic, sex, and war. While Aleister & Adolf does merge both fiction and nonfiction, it identifies more with fiction than anything else. Despite the shortness of the book, it does take a little while to read as the plot is decently complex. If you have any interest in the strange nature of history, I would suggest you check this out.

The artwork is much more colorful than the last issue, mostly. Of course given most of this takes place at a concert it, actually gives an authentic feel. However there is a notable difference that when the creatures of nightmares create their illusions, they extremely colorful. That gives it a nice contrast.

I have started to notice that the cover of all three issues, have two things in common. One of them being Alice. While the other is the odd red skinned demon women, who is usually lurking in the background. If that is artists, and writers hinting at something, is unknown to me, but I'm curious to find out.

In a similar fashion to the other issues, the artwork is superb. I wish I could show you a panel of the "Nightmare version," of Alice Cooper. There is something almost ringmaster in appearance, with a slight hint of Victorian dress. If you look at the monsters close, you may recognize the artist doing his best to recreate famous movie monsters. Including one that isn't in a movie, but is an extremely well known as a literary horror, and cosmic being.

The art work byJim Terry continues to impress, blending in the supernatural aspects, as well as the aspects of the real world. Of course the panels about midway through or so, where Smiley explores Ceutotech Pharmaceuticals. Even the large “body farm,” where a sinister orange rooted tree is plunged into the minds of those at the body farm is extremely well done. The origin of the tree is unknown, but I doubt it can be good given the color scheme of the tree and its location.

Things get interesting as the final part of the “Life and Death” story arc begins in Alien vs. Predator: Life and Death #1 written by Dan Abnett. The issue brings in a large amount of Predators with tensions already high from the previous parts of the story arc. I sense things will get worse before things conclude. Who will survive till the end?

The hand to hand combat scene is a clear standout for this issue. While it flows well, it does show the combative nature of the Predator species. Yet I imagine the upcoming issues will be filled with fire-fights and action. Artist Brian Thies continues to nail it as far as the art in the series bringing Abnett's story to life and full of action.

There is a lot of action going on, and a lot of fire- power and all of it is beautifully rendered by Brian Thies. The predator group is doing a lot of up close fighting with both their trademark spears and claws and Thies captures the awesome detail. In contrast to this, the humans are using a more modern version of firepower. Despite the contrasting forms of combat, Thies' art shows off that neither side are to be trifled with.

Like previous issues, the art by Brian Thies is polished and desolate in ways. Thies' art feels like it focuses on more Chris's actions including some interesting speeches about the power of love. I'm curious to see how the art will amplify the ending of the story arc.

Much to my surprise, the art is more science fiction influenced than the horror I expected given the two title characters. Which oddly works well, given the nature of the story. You don't see much of the martian landscape, which is a slight shame I think. Between the Nosferatu and humanity, the changes would make for an interesting sight. Setting that aside, the action is well drawn, and doesn't skimp on the blood.

The art, also by Stokoe, creates a dark atmosphere that merges horror and science fiction well. The art manages to amplify the feeling of desolation and hopelessness, things that are staples of a good Alien tale.

The art style by Stokoe amps up the gore tremendously. Especiallyas the larva stage of the alien appears. He manages to show the sheer agony of the process in superb fashion. Yet it also manages to show the sheer distress of Wascylewski well as things continue to worsen.

The art by Tristan Jones is mix of light, and dark depending on the settings. While the after attack seems to dominate the light side of the art style, with illuminated environments. On contrast to this the abandoned ship is much darker. That aids in in creating an atmosphere of fear, as the reason the ship was abandoned is revealed.

Alien is always a perfect balance between horror, and science fiction, and this issue is no exception. Alien: Defiance #2 has our main characters delving deeper into their mission, as they continue to find damaged or abandoned space crafts. Well not fully abandoned of course, the Xenomorphs have taken over.

There are quite a few standout scenes in this issue by artist Riccardo Burchielli. My favorite has to be the slow motion grenade launch. It manages to bring a sense of gravity, and danger to the scene… before everything goes boom.

The flashback is one of my favorite art pieces in this issue. It is well done and shows a lot of action. Even if it is brief it deepens the story in a superb manner.

The end of the issue is a nice surprise and makes me wonder how things continue as the story progresses from here.

The art style of Stephen Thompson brightens up a little in contrast to the story itself getting a little darker. The issue also debuts a new cover artist, Stephanie Hans. If the cover doesn't catch your eye, I'm not sure what to say to you. You are missing out a solid series.

The art by Stephen Thompson is solid and creates a believable atmosphere of dread. Even if some of it repeats itself as the issue continues it works to bolster the level of fear, as things begin to worsen.

The art by Stephen Thompson is fantastic. The issue gives us a look at the more dress based space marine clothing. The perspective shifts a little as views from space and the Europa to Earth manages to be spotlighted well. That new perspective manages to create a blend of reality and science fiction.

The art style shifts some to something more grounded which makes sense considering the setting. The flashbacks do come off as confusing though they are intriguing. Unfortunately that all seems out of place. It feels like it builds in the mystery making me wonder if there are more to them than it appears.

Moritat seizes hold of the art in this part of the story arc. Moritat's style brings in a noticeable difference compared to previous issues of this story arc. That artistic shift does make this issue stand out against the previous eight issues. The short fight scene is superbly well done and works well in the style.

The dismissal atmosphere of the previous issues changes as well, given the new setting and artist Moritat makes it work. I will admit the ship is a massive shift from the bleak looking environments they used in previous issues of the “Life and Death” group of stories. The ship is a polished environment and has a vastly different inside look than the Xenomorph seen in previous parts.

The black and white color choice used to depict flashbacks works really well for this series. It manages to contrast well with the more colorful present. I won't spoil the odd standout scene in this issue but, it does do a good job of merging both the past and present. It shows off some of the acrobatic skills Doleres' learned in her when she was in the circus. Artist Megan Levens delivers with the art mixing fun action with a noir story.

It's a great addition to the world of Aquaman, some of which I want to see more of from these two talents.

The art work by Peter Bergting is decent, even if it may not be colorful as some other comics. That works for these well though, as they work well to contribute to the horror inspired atmosphere. Even if that atmosphere is getting increasing dark, as the story descends into even stranger territory.

The art by Peter Bergting fits the natural darkness of Mignolaverse. Bergting does an excellent job blending in backstories, with the present as they bury empty coffins. Despite the tragedy throughout the issue, the comic is well drawn. It showcases the light of life, and the darkness of death.

The strange plant woman creature is gorgeously well done by artist Peter Bergting. Even the strange, monstrous, creations that the Red King made are creepy. They all have an almost ethereal like in appearance, despite the heavy use of reds in their demonic skin. It all works together to evoke the vibe we've come to expect in Mignola's world.

The tale of the past is well drawn by Peter Bergting. The art creates an interesting portrait especially with the design of the body of Blood-Red Witch, in particular, the use of color. The fight scenes are superb and manage to flow well. It all comes together to give the comic a dire sense of urgency, and action.

As usual, a “Mignola” is as fantastic to look at for the art is it is entertaining to read.

Bonet does double duty and also handles the art. The cover is either a tribute or mock of the 90's, it is hard to tell.The art work inside is spectacular, and violent. Anthropomorphic characters bolster the humor, as some of the deliveries would only work in that style.

The art by Dean Ormston has an rich old time style feel to it. The issue manages to showcase the person under the mask instead of the masked part of their life, which adds a bit of mystery to it all. While the art does show some brief flashbacks to that time, they do leave one a little curious as to the individual backstory. I'm curious to see if they manage to bring some of that in both the story and the art as the series continues.

Can we admit the cover is awesome? The retro style is absolutely fantastic. It reminds me of the old Superman show I watched growing up. The overall art style by Dean Ormston is a nice balance of flashback style scenes and their present existence.

Artist Dean Ormston creates a spectacular cover that looks like some sort of old movie poster from the 50's. Despite the short glimpse of Mars that is seen it looks fantastic. I'm curious to see if they will add in more of Barbalien's people into the story and how that artistically will blend together with what we've seen. The flashback scenes of his arrival are the standout of the issue in my opinion. There's a great collision of cultures as the hero arrives.

This is a solid series, but from Jeff Lemire I expect no less.

The Para-Zone is highly abstract, and strange and artist Dean Ormston nails it all. That is the clear standout in this issue. I'm curious to see the next issue holds after this one, both in story and visuals. Will it shift to the real world, or will it continue to show just the odd place they inhabit?

The art by Dean Ormston is much darker than previous issues. That darker tone works well for the issue given the dark and tragic nature of Madame Dragonfly's tale. Despite the dark tone, there are a few bright spots in Ormston's art as well.

Artist Dean Ormston manages amplify the Kirby influence of Black Hammer's origin. Yet as the past and present switch places, it is clear he manages to distinguish each setting with great ease. The issue uses a mix of golden age and silver age art techniques for the past while using a more modern art style for the present.

As always, Black Hammer is one of the best superhero comics out there.

Each of the six artists chosen brings their own unique style to the mini-story they tell. Picking one to that stands out above the others is impossible, the talent is so top notch and it's all so impressive. Rating the art as a collective whole is a challenge as well, due to the shifting styles and artists.

While there is this odd Southern Gothic feel to the art style, the comic is bolstered by the dark atmosphere of the issue. There is a clear absent of lightness in either story or art (so far). Judd's vampiric transformation is only seen in one panel, but it brings on a clear physical change and something I look forward to seeing more of.

Darkness seems to carry throughout the issue in both the art and the story. The team manages to show some of Judd's life in a flashback sequence which fills some things in. The art manages to blend past and present in superb fashion. There's little difference between them as both times lead to the swamp.

The obvious artistic change by Roy Allan Martinez is Ruth's daughter. Changing in an almost Jekyll and Hyde manner, from a prisoner to a monster. Outside of that, the art is superb. Especially, as the issue ends in flames as things go from bad to worse.

I will take a brief moment to appreciate the unique, creepy, but extremely well done cover art. Even the interior artwork by Drew Moss contained within has a satisfying creepiness to it. While even the spiders are well presented as they “invade,” this issue. Which is an impressive feat given the number and shared sense of uniformity they have in appearance.

In Blood Feud #4, writer Cullen Bunn is finally beginning to bring the story to a climax, as the vampiric demons spread through the small town.

The art by Drew Moss and Nick Filardi is dark, grim, and of course filled with shades of red. However the Master Vampire image, does bring to mind a lesser known foe of Batman, Manbat. Just a more twisted, vampiric, and fearsome one. While despite its much darker origins, you can see the obvious differences.

I will admit the three color atmosphere, was a surprise at first. Yet the more I read it the more I became enthralled by it. That atmosphere manages to work wonderfully in this conceptual comic and it's great to see James Whynot, who does double duty as artist, go this route.

Sticking to the three color art style allows the issue and series to manage and create a slightly unique read. Whynot allows the natural violence and darkness of the story to stand out in superb fashion through the art. This issue ramps up on the gore and violence some with the opening scene. I'm curious to see how many of the strange new characters will continue to appear as more issues are released.

This issue does bring in something new that was only briefly seen in the past issues. That'd be a good sized town that is filled with people. That really stands out more due to it being something that seems out of place in this monster-filled world.

The art by Julius Gopez is a nice blend of contrast as the novel progress. Gopez manages to subtlety add in more color as Kenton travels with the people who found him alive. The cities seem to get increasingly detailed, as they grow larger.

The comic focuses a lot more on the present than the past that does leave one wondering how much Drew's grandfather actually knew. I'm curious to see if more of the grandfather's past is brought about as the series continues.

This is a new take on the classic monsters we all grew up with.

This first issue is fantastic creating a world that is begging to be explored and characters that make it entertaining. There's a lots of fantasy out there but this debut manages to find more than enough that feels new and unique to make it stand out from the pack.

The art by Pete Woods is clear cut and shows a great degree of realism which is impressive considering the concept. Some of the stranger sights in this comic are actually better for it and don't feel out of place. I won't reveal what they are but, they are surprising, to say the least.

I will admit there is some interesting shocks in this issue, but I won't spoil them. They make for surprising sights from artist Pete Woods, that I doubt you will miss. The mysterious Hum, seems to get more colorful with each issue, despite the briefness of his appearances.

The cover is very eye-catching and hopefully will attract more readers of those who have ignored past issues. The art by Pete Woods manages to amplify the power of the beings. The cover is a perfect example of that, it just screams power.

While much has changed in the art style of Pete Woods, the addition of the lizard men was an interesting sight. While they do appear in the background of the cover art, they have a slightly different appearance in the issue which is an interesting and noticeable thing.

The art by Pete Woods brings the brutality of battle to the forefront. The issue brings a cornucopia of cryptids on both sides, as they wage war on each other. While the explosive firefights are well done, the ending scene is a curious sight. It manages to tell one main thing, more is to come.

If you're a fan of police dramas, police procedurals, or noir crime comics, this is one that's a must.

The issue does a good job of catching up those that are unfamiliar with the character. Yet it also expands on that origin too. This is one for fans of Adams' work.

This is one for Adams fans. If you enjoyed the first issue, the second continues the journey Adams has crafted and the art shows off why he's considered one of the best.

The art by Reily Brown manages to flow well throughout the issue. Mystery and humor take turns being at the front and center of the plot and Brown's art enhances it all. Brown shifts between those two atmospheres with ease.

The first issue is all about its personality and underlying themes. This is a comic with a focus on what it wants to say and what it wants to project. And all of that together comes together for a hell of a lot of fun.

The first issue is a fun one delivering lots of mystery and action and does so in a way that is unexpected.

The art style is very unique. Which allows the uniqueness of the story to be bolstered, as the view transitions. IF only from the brightness of the sun to the darkness of the sea.

The mixture of black and white art, and color is brilliant. It makes it really easy for the reader to distinguish the past, and the present. There is something oddly intriguing about his mix of black, and the bright color of the fish.

The art manages to include flashbacks of Mia's life as she grows up following the adventures of her father, quite literally. Using shades of blue and black manages to distinguish the past, from the present. Yet they collide as Mia hallucinates the strange being on the cover. Who is he? Is the figure her father's ghost?

I will admit the darkness of the cave is intriguing. Given the skeletal remains that are outside, it makes me wonder if something lurks in the cave, or nearby. Even the cave has an odd sense of color. As always, the art by Matt Kindt and Sharlene Kindt is beautiful to look at and beyond unique.

The watercolor art style really works well for this series. It aids in creating a convincing ocean environment, with a lot of contrast. The large turtle seen on the cover actually makes an appearance inside the darkness of the cave. It's not just a beautiful image on the cover. Kindt along with Sharlene Kindt continue to deliver a comic that's as amazing to look at as it is to read.

Compared to the colorful previous issues, this issue has a much darker tone. Matt Kindt and Sharlene Kindt use shades of black, and green mostly instead of the more vibrant color scheme we've seen in the past. Which, given the shift in the story, is a good move I think.

The art by Kindt and Sharlene Kindt is much darker and contributes well to the mounting pressure in the story. It manages to do a superb job keeping things as grim as the situation appears. Yet there still seems to be a contrast in the atmosphere as the view switches from inside the chamber to outside of the chamber.

The art by Jonathan Wayshak is well done, and easily succeeds i creating a dark, bleak atmosphere. Despite that bleak setting, there is no lack of color in the world and that's thanks to the talents of Jordan Boyd. Despite the last few pages being out of place, they are well drawn, with a great degree of realism. However the affected humans have some odd proportions, and are slightly inconsistent in size and stature. They do seem to share the same muscular build, and they use that well in the scenes they are in, but there's some oddness to that.

Honestly I love how the art by Jonathan Wayshak manages to capture the determination of Raja and her will to escape. As well simultaneously capturing the violence, action, and flow of the story. Even the realism of the characters, while maintaining the gritty violence of a world where humanity has changed is still impressive to see.

Gritty, giant animals, and ruinous landscapes complete this strange sci-fi series. I will admit the addition of giant, primitive animals are a nice bolstering of the superb environments. Honestly, I'm not sure what they could add in either story or art to make me love this series anymore.

The art by Jonathan Wayshak is surreal, as they arrive in San Francisco. Only to find it filled with cavemen, mammoths, and other animals affected by the virus. I will admit the way the two strange men at the end are drawn, makes me wonder where they came from. Let alone why they are dressed in something that looks like it does.

Artist Jonathan Wayshak manages to capture some of the stranger, more surprising moments in this final issue well. That big surprise has a simple appearance, but seems to have a strong grounding in reality. The strange figure in the ending is creepy and wonderful.

The art by David Rubin is a clear divider of the Ether and the real world. Ether has this almost psychedelic vibe to it all enhancing the magical feel. The world is filled with both magical animals and vivid colors, while in contrast, the real world is much more bleak. It's not just the design that shifts the color wheel also changes to shades of gray, and a downplayed color.

A solid issue that mixes magic and science into an exciting world that begs for more.

The half-mechanical, half magical golem is an interesting sight from artist David Rubin. The brief peek of how it works is interesting and some solid art. The Faerie Kingdom is a unique place, from what is seen and revealed. Rubin does a great job creating distinguishing the cities in the Ether giving each a unique style all their own.

Four issues in and the series continues to build a magical world that sucks you in more and more.

I will admit the art by Colton Worley and Cezar Razek is stunning and creepy at the same time. Despite the creepiness there is an odd lightness to the world. Allowing a solid contrast between good, evil, and the unknown.

As they reveal the origin of the Godeater there is a lot of mythology incorporated into it all. Some are obvious like the brief scene of a dead Odin and the Egyptian dressed gods. Others are little more subtle in nature. I'm curious to see if they add more mythological elements as the story continues.

Like the previous issues, the art is by Colton Worley and Cezar Razek is stunning and almost sublime. I will admit the Norman Rockwell influenced cover is a nice touch for this fan favorite Chaos comics creation. It feels like a blanket hiding the dark tale that lurks within its pages.

Like the other issues in this run, the art is stunning and visceral. It layers in a lot of contrast in both the characters and the background. The dual artists also manages to give a clear distinction of stories in the process.

The first issue sets up a fascinating world and a mystery that's exciting to see what comes next. Guillory has a style all to his own in both look and tone and this comic delivers on that. A twisted and weird debut that has us coming back for more.

The art by Jason Millet and Mark Stegbauer is straight forward, and clean. It uses minimal violence (so far), as the ragtag group of young survivors try to figure out what is going on. That manages to bolster the kid friendly atmosphere of this comic.

The mix of improvised and little random weapons manages to throw some humor into the art. While the town seems to have some of the creep factor of the forest, there is something about the place that is small-town. If the town wasn't infested with zombies, it would probably be a nice place to live. The houses do look pretty similar as the kids defend themselves but there's a nice flowing manner about it all.

The art by Mark Stegbauer in this issue can be broken down into two groups, up close, and wider shots. While the two isn't balanced, they are used to showcase the passage of time in some ways. It all assists in keeping the story flowing at a decent pace, as the characters encounter more weirdness.

I will admit the manor manages to be a stand out sight in this issue. With it looking more moss and vine then actual building it manages to amp the creep factor in superb manner. Even with that there's another much more subtle surprise that lays in the greenhouse. I won't spoil it but fans of certain mid 80's horror movie may notice it and it should put a smile on your face.

The art by Eleanor Carlinihas a solid flow to it and smoothly shifts the character viewpoints as the story unfolds. That shifting perspective helps provide insight into Arsenal, Green Arrow, and Red Arrow as they try to figure out what is real, and what is an illusion. Carlini helps keeps you guessing through the art and brings in some interesting visuals in the process. If you pay close enough attention, there's subtle hints at who the real villain is and what's real and what's not.

The art by Enn and Ario Murti features contrasting color palettes which stands out. The artists distinguish the few settings with ease putting the emphasis on either dark or bright colors.

Despsite the two time periods, each moves the plot forward and action as Jasmine and Mystere try to escape the Shadowlands.

The art by Marcio Abreu does a solid job of rendering the magic in this issue, along with bringing in the past with the sepia color scheme seen in previous issues.

The art by Ranto Rei blends fantasy and reality seamlessly. It showcases various magical worlds for brief periods of time, as the story leaps between them and Earth. It manages to pack in a lot of action and story in the process as well. It even shows various creatures of myth, including the Morrigan and goblins.

The artwork is well done, with a degree of realism in both the human and non-human characters. Even the world is well done, with an extreme attention to the post WWII world, with minor elements of steampunk that can be seen in some of the panels. Of course that does explain the slight Victorian dress of the characters, over a more modern style of clothing but, that works with the story well.

The art style is in a constant state of flux as various band members travel throughout time. That manages to create some interesting eye-catching visuals, along with adding to the humor of it all. Sawyer manages to do something unique with it, as it blends with the plot and enhances it in some ways. That includes creating a character based on their songMr.Perfect. I really hope that style continues throughout the series as it adds a lot to it all.

he art style continues to blend humor and violence in a spectacular fashion. The issue increases the amount of violence and action when the story calls for it but also dials it back when neccessary at the rare times when it isn't needed. That creates some contrast and changes things up as things manage to somehow get stranger as the story progresses.

This is a series that doesn't take itself too seriously and likes to amp things up as high as it can go not just over the top but setting a new bar of insane fun.

The art byTom Neely and Matt Maguire is action packed in this issues. The two have no problem making visual puns at history with appearances by Abraham Lincoln, Donald Trump, and more. That's in addition to packing in a serious amount of gore and violence (but that's what we'd expect). Can't also forget a shoutout to some mutant looking penguins.

This issue gives fans of the old show a serious dose of nostalgia.

While Mike Mignola created Hellboy, and managed to bring his trademark art-style to the title, Paolo Rivera manages to take the idea into a more realistic style. That is oddly refreshing, despite the respect I have Mike Mignola as a writer and artist. All around the art is superb from it character drawings, to the setting itself.

The artwork features the well known art style of Mignola, with an influence of the penciller Paolo Rivera. You can tell how quickly time seems to pass, as the subtle light changes between the action sequences. Even the cover has a subtle nod, to a well known children's toy the invisible dog leash.

Like the story, the art is polished but violent. The monster's arrival at a child-filled school is almost iconic as it is simple. I will admit the fight between Hellboy and the strange dog thing is action filled and visually solid as they both trade blows. The vision scenes are amazing, even as they raise a whole bunch of questions, they look absolutely great.

Like the previous mini-series Heroes: Vengeance the art work is greatly realistic. While the story follows someone a little more ordinary who happens to have a tragic, but trans-formative event happen. The artist clearly understands, and showcases Farah's change from ordinary to extraordinary. Even the flashbacks to before the tragic event, seem to have a sense of weight in both art and story. Can't wait for more.

Like the previous issue of Heroes: Godsend, the art work is superb, and a little darker in atmosphere this time around. Yet there is a sense of balance, as Farah returns to her normal life during the day. The few spread out action scenes are changing mix from urban fighting, to something more stealthy.

Artist Roy Allan Martinez adds a sense of realism to Mr Linerman, by managing to capture the look of Malcom McDowell who played the character in Heroes. The flashback of how Farah got her Godsend scar is intriguing, and reveals some of why her character is so strong. Even though it may scare some readers who have arachnophobia, so be warned. The blend of Farah's state of invisibility, and solid form is a well executed piece of art within itself.

The ending between Farah, and the large suited man is fluid and well done. The comic as a whole presents a nice mix of dialogue and action.

The artwork by Rubine defiantly has an authentic, grittiness of what you would expect of a downtown Los Angeles. While the action scenes are dark, violent (for the must part), and filled with action. It continues mostly with the dark theme in the scenes when he is in a mask as his wrestler persona. While he is not in the mask, the colors are brighter, and more vibrant. That simple contrast makes it easy to distinguish the man, from the mask.

The contrast used in the first issue continues in this one as well with splendid results. Compared to the first issue this one isn't as dark, or action packed as the first. The art combines with the story, as it trades back forth between the past, and the present. Contributing to the natural balance that seems to flow throughout the book.

Both the main cover, and the alternate cover are superbly well drawn. While they both take a different approach to the story itself, they both suit what rests inside well. The artwork inside is superb as well, featuring a few flashbacks early on, as El Vengador fights an unknown enemy. However I really wish they would have a preview of the smuggled in EVO's and there powers. That was one of my favorite panels in the issue. Each of them has a unique power, and some have a unusual and unique appearance.

Like previous issues, the art work by Rubine is superb. I will admit the “brightness,” that shows the flashbacks is a nice contrast from the present. The transition between past and present is done seamlessly outside of the color differences. Of course the grittiness of the of the present is incredibly consistent like it is in previous issues.

Honestly I'm curious to see if the next mini series Heroes: Godsend continues this gritty, urban, atmosphere.

Home Sick Pilots #2 moves the story along as well as delivering the backstory of Ami and her friends. It's a solid horror story that feels like some classics in the genre. It's not completely clear what's going on but what has been presented is surely interesting and well worth checking out.

The artwork is dark, atmospheric, yet not morbid yet. I will admit the main character has these oddly terrifying, wide, almost sleep deprived eyes. There is something dark behind those eyes, it just hasn't been revealed yet. Yet, I'm interested to find out if those blood splattered pipes that the cover has lead to.

I will admit the more the artist zooms up on Sarah Winchester's eyes, it makes me wonder why. There is something creepy about that vacant blue eyed stare. The last few pages artwork is stunning and creepy. I won't spoil what happens in those pages, but be warned it is graphic.

The flashback of Mr Peck is a gorgeous blend of art and story by artist Ian Bertram. I will admit the subtle use of interwoven black lines around every panel leaves one wondering what they are. Are they hair from Mrs Winchester, or are they something much more sinister?

Sarah's descent into madness manages to influence the art, as it gets darker, and a little gruesome at times. While it may not all be dark, there are a few bleak spots of light. They are spread out throughout the comic which manages to give the issue a sense of balance.

The art style by Ian Bertram gets a little explosive as a sea of red begins to worm its way into place. I will admit the odd dream scene widow Winchester has stands out in this issue. It shows her descent into madness as she attempts to get her family back. While I wish I could share it, the one large vertical panel in this issue is one that should get attention. The attention to detail in that panel is well done, showcasing the sheer size of the house.

The art by Bertram continues to shine in a terrifying and grotesque manner. I will admit the way the house falls apart reminds me of a jigsaw puzzle if it was made by M.C Escher. There's something haunting about its image.

Fabio Moon and Gabriel Ba, manage to create a strangely unique place in the everyday world that Gaiman has created. I will admit I loved the brilliant elegance of the "poem," despite the strangeness of the origin. The artwork manages to highlight some of the stranger but subtle parts of the story well and continues the two's amazing work.

I, Mage #0 would be a great gift for child who is just starting to get into comics.

The art reminds of old Saturday morning cartoons I grew up on, back when they made things with story. Everything on the world seems to have this vibrant feeling to it as if they are trying to build a real world. The color scheme is in a constant state of flux, as action gives way to story. Settings change from the sea to the forest, and so much more.

More elements of fantasy is added to the art work as Orcs, Elves, and more fantasy species are added, and on top of that, the first sign of civilization is brought in as well.The unnamed town is one of my favorite things as it a nice change from the seemingly endless forests of Urth. While the town isn't seen in full scope, the town is reminiscent of RPG worlds, complete with pointed roofs, and multi-tier buildings. Not to mention the public square, where they hold executions at the hand the mysterious sorcerer.

The scenes of combat are gorgeous and colorful. Artist Mel Bontrager depicts every action reads like a miniature movie brought to life by the traditional comic book format. I love how you finally see some powerful magic at works as the two sides clash.

As always, an entertaining series that's well worth checking out.

The first issue delivers an interesting set up that mixes together horror with a more traditional detective setting.

In two issues the series has given us a nice twist on the police procedural in a world that feels both realistic and a bit scary.

With a new movie on the horizon, this looks to bridge the gap between the original film and its sequel and fill some gaps. For fans of the original film, this is one you should check out.

Action filled art by Rodney Ramos exists almost throughout the comic. The art work by Ramos is superb overall. I will admit the detail they put into the exploration of the ship is stunning. You can tell the artist has a great passion for this series.

The art by Alex Shibao is great. The alien dive-suits are fantastic and creepy. The design reminds me of old diving suits, the difference is these are made with alien tech. I will admit even the human dive-suits look like something from the future, which makes sense since the comic is the near future. The explosions are colorful, but manage to keep the characters in shadows of an underwater fire.

The brief psychic vision between the lead alien and the marine captain is well done by artist Alex Shibao. The imagery manages to reveal some of the aliens origins, and the aliens plan. There's also some interesting work with the coloring. For example, the subtle shift of blue to purple in the opening credits is simple, but well done.

This issue does reveal more of the interior of the alien's undersea ship. Artist Tazio Bettin manages to show more details, as two marines explore the ship with a shared hope to move the ship away from the fault. Honestly the ship's entire looks eerily alien, as more and more of it is revealed. The art manages to showcase the alien's strange physical form as well, as the once dead corpses returns to life.

The art is a blend of western style and eastern scenery for the most part. While there is a strong sense of flow in the action, there is something that is waiting to be revealed with the plot. I won't spoil the ending but it will leave you scratching your head I think.

There is a subtle change of art by Fred Pham Chuong as the environment changes from Hong Kong to New York City. The major spotlight for the comic reveals itself towards the later half of this issue. The mystic side is much more vibrant than I expected, a subtle artistic choice of Chuong. That slight difference gives it a nice contrast from the noir atmosphere this series has to it up to this point.

This issue helps showcase artist Fred Pham Chuong‘s ability and we're treated to flowing and engrossing scenes of action. The issue has a lot of martial arts based action as well as bringing in a lot more plot through it all. The issue manages to reveal how the statue has affected Juan. That shows off the beginning stages of his new life and has me excited to see what happens next.

The art manages to bring the past to the forefront. As both past and present collide with a lot of action. All of that comes together with polished fight scenes throughout the issue.

The art by Fred Pham Chuong manages to continue the delicate balance between the mystical and the martial arts aspect of the story. There are clearly defined mystical elements as it reveals the look and host of each spirit. There is also a good amount of kung-fu action throughout which should make fans of that type of story happy and entertained.

The art seems to take a mix of things from both Eastern manga, and Western Comics. The text conversation bubbles above each characters' head is funny and a smart choice. It's something different that makes the comic stand out. It helps show some of the characters' interaction between themselves allowing us readers to get to know them more.

The art continues to flow well like the previous issue. The setting is more focused and reduced to the Jade Street and Magpies' apartment. That helps to showcase how the normal world reacts to the introduction of magic in a combination of art and story.

The first issue of Dark Horse Comics' King Tiger combines a fast paced story, with back story, magic, and action. Combining the world of the west and the mythology of the east in a beautiful tapestry.

The artwork by Doug Wheatley manages to highlight all of this in a superb way. Even some of the stranger things that take place, are well drawn with a careful attention to detail. Even the darker scenes are well laid out, and done with a nice balance of color.

In a similar manner to the last one issue, the artwork by Doug Wheatly is colorful. Even the non-human characters seem to be drawn with more confidence, as they fill bigger roles than just henchmen. That really brings them into a larger focus. Now that everything seems to go wrong in the story by Randy Stradley (read it and found out why), the art work is really bought into a vibrant balance.

While compared to the previous issues, this comic is much more vibrant and colorful. However, there isn't much contrast outside of the ones between the character's and their environment. I will admit the cover art is superb, and reminds me of old comics I have seen from the 60's and 70's. Just updated with a more modern character, and environment. Defiantly wouldn't mind having a physical print of the cover to hang up, or frame.

While the both worlds are well drawn, the real world is much more prevalent in this issue. Of course there is some creatures from Avalon who have come to the real world seeking the death of the family. Those creatures clearly are meant to stand out in the brightness of the real world, yet blend in to the normal populace of reality. While the magical world is really only seen in flashbacks, they are extremely well down.

For a fantasy themed comic, the artwork byPhil Winslade and Staz Johnson is extremely realistic. Despite the classic fantasy elements the artists managed to keep the artwork grounded in reality, or as grounded as they can. The large battle type scene inside the mall, is filled with an atmosphere of chaos as the royal family fights back against the army of Malicia.

Despite the limited environment of this issue, the amount of action throughout is drawn with great skill by Staz Johnson. The sheer destruction of the monsters is showcased briefly, but well as the small battle ends. I wont spoil the end, but the unique getaway vehicle for the royal family was an artistic shock.

Artist Mirko Colak manages to showcase a strong degree of realism, and heavy violence. Even with fantasy based creatures like dragons, and bigfoots running around the world feels real. I'm really curious to see what other fantasy-inspired creatures and elements get added as the story continues.

The art, like the story, is violent and bloody. The fight scenes are filled with gunfire and bloody swords. Colak gives it all an almost movie like in that. That focus has the story flow with ease.

The series seems to be getting increasingly dark as more issues are released. Artist Mirko Colak creates a heavy contrast in the art, as the overall atmosphere darkens. While I won't spoil the terrifying secret-guarding the red gold, they are well done. It all gives way to a colorful firefight as they are released.

The first issue is a fantastic one adding another layer to the Hellboy universe and as usual mixes the fantastical and the grounded for a perfect mix.

I will admit there is something about the appearance of the thrall, that reminds of goblins and orcs, for some reason. Yet I imagine I'm not the only who will notice that as it read.

The art is solid, and consistent throughout. Here they introduce a new setting that is filled with "normal" life not ravaged by the virus. That new location finally allows the artist to draw other children outside of Daisy with great detail. The explosive combat panels are well done and filled with fluid scenes of action, violence, and of course explosions.

The manga inspired art syle continues, as the western influence is present in the way the environment is drawn. I will admit the flashbacks are superb in their execution, as the story reveals how the Encoms came to be. Along with the various models, that have to pass for human. It is a impressive thing to see how, despite the different functionally of the Encoms, they manage to look relatively similar.

Nothing says final issue, like fluid, violent action, and the art by Miguel Speulveda delivers that. Even the forced landing is supremely well done. The flashback scenes are well drawn, and contribute greatly to the story as well.

The art is almost as well done as the story. Compared to most traditional cyber-punk worlds, it has a much brighter atmosphere. I will admit despite the availability of cybernetic implants the characters still look and feel human, in appearance. That contributes to the world, and the story extremely well. I'm curious to see how the characters stay grounded in a world, that is slowly becoming less and less human.

While the story has some influence by Ghost in the Shell, the art does not. Clearly the influence is more western in origins. The early, and last part are action filled, and the action is filled with a fluid style of movement. While the middle is more of a story driven art style, as more cyborg characters are brought in. Along sidewithclearly unaltered counterparts.

The art presents of mix of two things, cyberpunk and action. While the action seems to be getting more intense as the series continues, as things get more violent, and more explosive. Even the few scenes that used to grow the plot, are drawn in such a way as to not make the reader lose interest. For the most part those scenes to take place mostly in the beginning, right before the explosive action begins.

While the micro-camera finger may one of the best things drawn in this issue, since it gives you a detailed zoom up of the finger. Along with what it is looking at, which is nice view of the bad guys. This issue also gives some brief glimpses of the the main characters do off duty. Providing a unique insight into characters themselves.

The art by Chris Evenhuishas a lot of forced perspective. It helps create numerous superb views of Florence from the streets to the roofs. There's also a vibrant color palette to match and creates the necessary shift from day to night. There's also some great detail like period accurate clothing to make everything almost believable.

The artwork has nice, almost organic flow that works well the elements of the story. For the most part the artwork is colorful, excluding a few panels were the they use only three, or for colors. While I can't share the panels directly, you will see what I mean when you pick-up and read the issue.

Artist Alberto Alburquerque continues the well detailed word, this issue is no expectation. While color is seen throughout, the artist does a wonderful job of making sure the settings are distinguishable. That allows the reader to see the different locations, while keeping them engrossed the world.

Honestly I doubt this will be the end of the series anytime soon, but I do hope Dark Horse keeps these two together. I'm curious to see what else they will make in the future.

Mystik U #1 is a new take on classic characters in a setting that mines material from a certain popular kid wizard. It's a combination that works for a first issue and promises interesting things to come.

The art continues to impress. It showcases a lot of contrast and color palettes as environments shift. Even doing some decent close-up show of familiar faces, and new alike. Yet, a decent of amount of quick action continues to steal the show. We also get a possible peek at what may happen next.

The art in this issue by Ted Naifeh (who's also the writer) is much darker than the previous issue. It helps showcase more of the occult side of the Cult of Uhlume. It's clear that Naifeh has made the large statue in the temple as a clear focal point of everything else. I wish they gave a little better-viewing angles, but I doubt this will be the last time it appears.

The art by Ted Naifeh (who also writes the series) is much darker this time around. Which I think is partly due to the darkening of the story. The sheer amount of action scenes is impressive and well done in every aspect. Yet this issues does show the contrast between the various classes in the city in superb fashion.

Like the previous issues, the art is solid by Ted Naifeh (who also is writing the series). Naifeh brings in a lot of contrast between the city of the tower of Uhlume, and the conflict going on in the city. The action scenes have a nice flow and make this a quick read.

Nocterra #3 is another great issue that delivers a deeper view into the world and building up the tension. There's a lot packed into the issue from visual hints to outright terror. It keeps up the action while shining a little light onto the world and its characters.

I will admit the semi-cartoon art style by Silas manages to fit in surprisingly well into this strange tale. While I imagine more violent scenes are to come in later issues, the violence is less cartoony and more humorous than one would expect. Silas ability to add in a depressing environment of the orphanage despite the bright lights is brilliant.

Despite the simple art, Stan Silas handles the art and writing, it manages to bolster the humor of the story. I will admit the Grace flashback was unexpected and leaves me curious to know a few things. Hopefully her “monstrous,” form makes an appearance in coming issues.

The cartoon-like art style by Silas works well for this series. It bolsters the humorous moments and violent moments alike.The art style for the two holiday-themed shorts is a nice change up. It helps make them easily distinguishable from the main story.

The comic continues to be twisted and humorous with a great blend of writing and art.

The first issue is hyped and delivers an experience that entertains and creates a world we both do and don't want to visit.

Parasomnia #1 is an intriguing beginning that may leave many confused but also sets up a hell of a mystery and world. There's such beauty and dread in the art and it all comes together to deliver a start that has me wanting to see where it all goes from here.

Overall the world is bright, and vibrant. That bolsters the cartoonish feel the world has. Oddly enough that manages to blend with the story extremely well.

Diverse environments that manage to build up the story due to art from Chris Mooneyham. The art helps create a sense of continuity as the story changes viewpoints, from Predator to Dredd.

The art by Francisco Ruiz Velasco has a nice blend of violence and realism so far. The issue manages to contrast the present and the past, with each standing out. I'm curious to see they use that style in upcoming issues.

The art manages to portray past and present as the plot shifts and makes it easy to determine when we are in the story. There is also some solid short hand to hand combat scenes as the crew preps for its hunt which primes the series for the eventual battle to come.

Despite the heavy science fiction themes, the artwork is realistic, and detailed. Even the world of Tartarus seems realistic, as trees, and water cover the landscape. It all makes the alien world extremely believable.

Dark Horse provided Graphic Policy with a FREE comic for review

The firefight that starts the issue is gorgeous and violent. Even if there is death on both sides it does reveal the more hunter based aspect of the Predator race. I will admit despite the short, and cut off firefight in the end, I'm curious to see how it ends.

The art by Brian Albert Thies is jammed pack with action, gunfire, and violence. I will admit you can see the influence of the late artist H.R. Giger, in the interior of the Xenomorph ship, just as you should in this world. The subtle almost rib-like build of the ship is interesting and evokes whats come before.

The first issue plants a flag as to who Edison Crane is and what we should expect. It has a solid set-up and a cinematic flair about it all.

There is something oddly mechanical in the appearance in about the Prometheus, almost more like an advanced cyborg than an alien. Artist Andrea Mutti is clearly influenced by H.R. Giger's artwork in the original Alien films. Each page manages to balance an action packed story, and superb artwork, to deliver.

Whatever the name of the planet the ship lands on, it has a borderline dead looking appearance. Readers will see what I mean when they read the issue. The rescuers weapons are clearly alien in nature, but from what race since they don't look like anything a Predator has used before.

Like previous issues, the art by Andrea Mutti is gritty and also very polished. Mutti manages to showcase a bleak optimism in a world filled with what feels like an allegorical racial tension between humanity, Predators, Xenomorphs, and the Prometheus Engineer race.

The artwork by Andrea Mutti manages to amplify the sense of dread in this series. Mutti manages to brighten it some with the gunshots and grenades that fly throughout the issue with great action scenes between Predator and the Engineer. Add in the marines fighting aliens, this issue isn't short on action.

The first issue is focused on world-building. It challenges the reader to fill in gaps and surmise what's going on not just through dialogue but the hints peppered throughout the art. It's a start that has us wanting more than just a comic but something we can explore ourselves.

I really liked the art style (Mizuno does double duty and provides the art as well). It manages to create a proper mix of dark, and light atmosphere when the story calls for it. It also does a solid job in capturing the fairytale atmosphere but in a subtle way.

The first issue is a solid start of what is sure to be the next hit that everyone will want. A great beginning and a great mix of genres.

The art by Carlos Gomez does a solid presentation of recreating Hyrkanian warrior in the modern age. Managing to show off Red Sonja's adjustment as she finds herself in a world she has never seen. Even though I do have one minor question about the cover. What on earth is the tentacle like thing doing in the lower left corner?

That it does. To think it all starts with opening a chest left behind by a dead king and a prince eager to open it. Several years have passed, and now the kingdom of Kush is on the brink of war with a meager army. The king is gathering companies of sell-swords to strengthen their army. Struggling for commanders, Conan and Red Sonja do what they do best. Fight.

The art is colorful and brings in a proper sense of danger and fantasy to the story. There's the standard fantasy of giant monsters, Orc-like creatures, undead skeletons, and lush tropical jungles. The series also features some well done if brief fight scenesas the two main characters in the story try to survive.

Best known for his work on Criminal Macabre artist Christopher Mitten joins the Mignola universe. He manages to blend his own art style into the recognizable style of the Mignolaverse. Mitten showcases the various times in the intro well as the story begins in imperial held Burma. I'm curious to see if the series will continue in this time period or will it progress forward with each issue?

The realistic art style by Lee Sullivan continues, only with a supernatural edge. While this issue shows a little more of a "normal" life. It's a nice contrast and is a clear building point in the plot before issue three is released. I'm curious to see how the artist deals with the unanswered questions and how that might impact the art.

Compared to the first volume, the art style changes some, as the story itself changes. Unlike the last volume that is more focused on the possessed car this one is more character focused. That seems to bolster the degree of realism, that the world itself has. Even the characters itself seem to be more grounded, in history as they reveal a few backstories.

The more I read this series, the more I love the urban fantasy style of the artwork by Lee Sullivan. Each issue seems to increase the complexity of the scenes, as they add a more complex environment. The one strange scene I won't spoil, has a detailed, and beautiful execution.

I feel the more the writers Andrew Cartmel and Ben Aaronovitch seem to bring back the strange masked women, the more I'm curious to know why they chose to have her in a mask. While artistically well done by Lee Sullivan, it does leave one with questions about the woman. I do have one about the women on beautiful main cover; is she the water women from the first issue?

Like previous issues, the art is well done. We finally get to see the home of Peter's Grant lover. The look is a highly modern in design and color scheme that really stands out in the issue.

The wave of realistic art continues as the strange case comes to end. There's a few interesting flashback scenes throughout the comic with most of them using the Russian frontier during WWII as a setting. It helps create a solid contrast between the past and the present.

The art is clean and possesses a nice sense of flow throughout the action sequences. Even the prison is oddly bright, almost sci-fi in design. Yet there is a sense of uniformity in the prison (spandex looking) clothes. Even the guards all look relatively the same.

I'm curious to see how things shift in the upcoming issues as the comic moves into the escape portion of things.

The art by Daniel Mainshifts as the environment shifts. Through small details it is revealed the jungle around the prison is just as deadly as the prisonitself. The new location brings in a new color palette of greens, blues, black, and browns that suit the jungle.

Honestly between this and the continuing stream of superhero movies, I imagine the comic book industry will survive for generations to come.

The only thing I don't like about the artwork byNicolas Fructus is Showman Killer's ears are oddly disproportionate to his face, it seems odd. Outside of that the artwork is superb. The main characters, and side characters are drawn with a degree of realism, that can be appreciated. However the artwork shares a balance between the light and the dark, in terms of color schemes. Of course red, is featured predominantly given the violence, and gore of the story. There are other colors used but, they are mainly for background and characters.

The colorful, almost psychedelic art style by Alexis Ziritt continues on creating a comic that stands out from so much else on the shelf. It continues a high contrast environments, and characters. And when all is said and done, each panel is a small work of art in the process as well.

Space Riders: Vortex of Darkness #1 is the start of the latest cosmic space opera that is a love letter to comic creator greats while forging its own path.

The art style continues it vibrant almost psychedelic look creating a lot of contrast. The show stealer goes to the Omega Structure with dark, with an almost Lovecraft like look.

The series is a fun visual treat that is a must for anyone that loves classic sci-fi psychedelic comics.

This issue continues the spellbinding art style by Megan Levens. Through the art, it manages to show the darker side of magic. I will admit the paintings are abstract but colorful, which stands out in contrast to the odd blandness of the artist's home.

The tarot card style inspired cover is a fitting one for the last issue. It manages to give a hint at a few things without revealing what is going to happen inside. Like the previous issues of this series, the art by Megan Levens is clean and well-defined. Levens manages to keep the magical elements realistic and eye-catching at the same time.

The art by Ross is well done and polished. The issue reveals in enertaining art some of the galaxy's most dangerous creatures, that the Sith apprentice hunts. Ross also shows the natural diversity of life and worlds in the Star Wars universe, something the sci-fi universe is known for. The combat scenes are interesting and fans will be happy as they show off Darth Maul's iconic double-bladed lightsaber.

If you enjoy crime-noir comics, I would recommend you pick this up.

Syphon #1 is a good start mixing a few genres and delivering nice artwork. It's a debut that does an excellent job of teasing what's to come through the artwork and giving us a quick run-through of the burden that gets our main character to the next part of his journey.

The art is extremely detailed and realistic. It manages to capture a decent balance between what is real and what is fiction. At the same time, the two worlds collide and often intertwine in a spectacular way. That helps ensure that no two scenes are alike in the process.

The art by Rags Morales continues its odd sense of sci-fi realism. At times the art blurs between a sci-fi and realistic style to fit the story in a strange almost brilliant way. But that halso makes the art stand out as the borders between the two melt away to create a visual treat that sucks the reader in.

Reality and fiction continue to merge in the art style of Rags Morales. This issue blurs the line as the sides collide. The spotlight for this issue, at least for me, is near the end of the issue which is best to experienced. Morales does a superb job of showcasing Claudio's regret and grief at the actions of hisyounger self.

The art style by Rags Morales contrasts well as fiction and reality continue to merge some. That manages to enhance the narrative of the unstable nature of Ryder's mind. Morales gives both the fictional and non-fictional sides of the story a strange sense of balance, especiallyas the sides switch back and forth as the story progresses.

Honestly, I wonder if they intend on continuing this series, or the world at the very least. It definitely has the possibility of making interesting stories, even if they don't include zombies given the plethora of creatures you could replace them.

The cartoon influenced, colorful art is visually eye-catching. I wouldn't be surprised to see a cartoon adaption happen, given both the artwork and story. The action scenes are polished and have a great flow between the panels. If this issue is just a hint at things to come, I'm not sure I can wait for more.

The art by Mindy Lee is solid and detailed. It manages to showcase some interesting details as the characters chase their bounty. Lee shows some great detail that clearly delineates a division between the city, the graffiti ridden slums and the cleaned, polished towers of those with at least some money. That sort of work helps flesh out the world.

The firefight scenes by artist Mindy Lee are done with a great attention to color and displaying action. Even the interesting flashback is a great contrast from the present. It all manages to showcase Lee's talent very well.

While the colorful art style by Mindy Lee continues, in some way this issue breaks it up and changes things up a bit. At times Bounty #5 goes with a more terrestrial almost Blade Runner environment for the scenes that take place in the past. In contrast to this, the present is much more clean and military looking. Yet both share a clear sense of high octane action with solid work by Lee who keeps the series consistent and flowing with energy and excitement with the visuals.

A good start, the series focuses on its two main characters who are tied together while setting up an interesting mystery.

I will admit for a book focused on creating a murder mystery there is a nice balance between plot building, gore, plot, and some political themes like gentrification.

The art style by Toby Cypress and Niko Guardia changes styles as the issue progresses. The issue presents two distinctive art styles from both artists involved. One shows off the darker side of the world while the other shows the everyday lives of those who fight against the supernatural threat to Earth. It's an interesting way to really emphasize things and does so through the art style.

The second issue sets a crazy pace as we're introduced to more of this world and characters. There's a lot packed in here and though the first two issues feel decompressed, they are also entertaining in what's presented.

There's a love of the subject matter and this is a solid entry into the growing genre of comic conventions gone wrong. A lot of the fun will be what winks and nods to fandom will be throughout and as a start, this is solid, fun, entertainment.

Let's take a moment to appreciate the oddly brilliant simplicity of the cover. While the cover shines the spotlight on the main two characters, it manages to remain some degree of mystery on what connects the two characters. It also manages to show off the world some, while hiding so much. Moving on the from cover, the world is extremely well detailed. While the obvious gears, and other mechanical objects, usually prevalent in steampunk, the artists chose a much more compact. That actually is a nice change of pace, from the more “abstract,” designs usually seen in a steampunk world.

The artwork byCrizam Zamora is superb and detailed. Even the flying “machine,” seen in the early panel is well detailed and shares a degree of realism. In contrast to this, the arcane part of the story is colorful, almost alive in nature. That gives a nice balance compared to the cold nature of the machines that are seen throughout world.

The art and story, intertwine as more machines appear. Even the machines change in size, and complexity as the plot continues to develop around an atmosphere, of machines, magic, and murder. Despite the change in size, and complexity they still manage to retain a degree of realism. That's all due to the talent of Crizam Zamora. I will admit the cover is gorgeous, managing to display the collision of steampunk and magic. Well done Sergio Davila.

Honestly, I hope both the writer and artist continue to expand on the setting of Big City. There seems to be a lot of room for expansion and a more lengthy series.

The artwork by Crizam Zamora is fluid and action packed as the story concludes. To me the villian's mechanical suit looks amazing. And Zamora nails it as Jo looks powerful as it's revealed just how powerful she really is.

The art is equally as impressive as the story is. While I doubt some the clothing could be considered historically accurate, it is drawn with great detail. Even the few brief glimpses of the mysterious shadow glass, shows that something seems to be alive in it. It may not be fully revealed yet, it makes one wonder why it possess an inner light.

The art by Fell (who pulls double duty) is superb. I will admit the last page, where the summoning happens is filled with a sense of supernatural color. I'm not going to reveal what they summon, but you may end up doing a double take, or two.

Aly Fell continues to do double duty on this series and it's entertaining in story and look.

The artwork may not have the extreme realism of Alex Ross, but it is well done to fit with the world. While the world may not be colorful, the use of only using a few shades of various colors actually works extremely well. In contrast some of the scenes depicted have a great mix of color, and tones to create a believable atmosphere. That gives this a nice balance to it.

Only have one minor complaint/question: Why is the spine so exposed in the Morlock driven wooden Robot? It just seems like a odd design. One hit there and the entire thing would topple.

However I can talk about the artwork without giving away too much of the story, I think. Artist Piotr Kowalski handles those duties, and the climatic fight scene is well drawn, and extremely consistent. Even the last battle is well drawn, and doesn't skip on the violence. The use of color manages to bolsters the atmosphere of action violence, and revenge that appears throughout the issue.

Compared to previous issues, this final issue is much darker in both art and story. That actually manages to intensify the world, as the Captain, Feather, and the Dark Rider end their clash in a brutal, and violent way. I will admit the more I read this issue, I could see the influence of Mike Mignola. Especially in the close up of the Dark Rider, which has a grotesque, predatory appearance.

Keeping with the fast pace story, the art work amplifies that with use of a multitudecolors. Outside of the few slower bits in the beginning, the artwork keeps up with story wonderfully. Rarely skipping on the gore, when the intense and often brutal fight scenes happen. Even in the few calmer and more “adult,” scenes the panels are well drawn, sharing an odd sense of realism. While balancing the action, and violence superbly well.

This pairing is definitely two creators to keep an eye on in the future, and see what they write/illustrate. Looking forward to the next issue, eagerly.

In most comics there is an origin story of sort of how, and why the character(s) came to be. While that is common to happen in the first issue, this one takes place in the third issue of The Troop. At least some of it does, anyway, as the main characters learn “how,” and to a limited extent the “why,” they existent. Honestly, the series so far has been a a violent, super-powered thrill ride so far, and I doubt it will end soon.

I'm curious to see how this story continues, as past and present mingle into a strange tapestry. One thing is certain though, it will be interesting.

They finally get costumes. Like most similar mutant based comic books, the costumes are made to work with their specific powers. However unlike say The X-men for example, the Troops costumes are unique to each individual, which is a nice change of pace. It portrays a sense of individuality despite being part of a team. As for the rest of the artwork, it is solid. Fluid, as the action and fight begins, ending before it gets out hand as the villains pull a radical move in attempt to destroy the Troop.

The first issue is a good one diving into a familiar genre but delivering something that feels new and different.

I would recommend this for people who are fans of quasi-realism. Mixing that with a humorous Spinal Tap documentary style for music, makes this amusing as well intelligently written.

The art by Dan McDaid is oddly fluid, but given the time travel premise, it makes sense. It manages to distinguish the different time periods in a brilliant but subtle manner. Especially given the drastic differences between the time periods as a whole.

The noir influenced art style manages to blend in oddly well into the natural strangeness of the twilight zone. I will admit I loved the beginning action scene as the fire fight begins. Even the small fight at the end, is well done with a strange amount of meta content.

I love the cover art, as it manages to capture the essence of the story extremely well. The art inside by Dave Acosta is realistic without it being overly gritty. The comic takes a clear inspiration from old noir films and comics.

The manuscript page by artist Dave Acosta is simple, but elegant. It allows the story to be bolstered as Maxwell tells some of his backstory. And it's an interesting backstory involving World War II and him learning an ancient secret.

The art by Dave Acosta returns to a much darker, and violent roots, as the Shadow returns to reality. Managing an almost radical shift the previous issues. That actually works well for it, as the final issue gets more graphic, and violet.

While the focus is clearly on Elixer's amplified powers and the destruction of the Terrigen Mists it shows so much more. It is obvious how the world has changed without its mutant population. Bunn and Piper bring in the ruins of Genosha to keep the atmosphere grim, as Elixer showcases how much his death has changed him. All of it beautifully illustrated by Piper and Ken Lashley.

The cover is a misdirect of sorts, sense the “rape machine,” looks like some sort of bondage mummy. While the origin of the rape machine is hidden, its design is oddly curious. There are some more graphic scenes in depicting rape, that are well drawn despite the illegal nature of the act.

The art is a little cartoon-ish for my taste, but oddly enough that works in its favor. Than again they manage to feature odd worm like, with large pincers, so what do I know. If you look closely you notice recreations of various comic book covers in the early panels. Some of the serious are well known, others are quite the opposite.

The 90's based art style continues, as the transparent space vampires seem to multiply in number. As she wakes from the hospital her family is there, and her mom looks a lot like Katie does. Just a little more mature, and refined. I'm curious to wonder if the mom and brother were drawn first, or after Katie was drawn.

The artwork by Winston Young is solid, and slightly cartoon-ish at times. Yet risqu at times, but the covers should tell the readers that. Which is odd but, workable mix as the plot drives this issue. Even the meta moments are well drawn, blending in with the rest of the issue well.

The art is well done and manages to include a subtle meta moment as Katie reads an old Vampblade comic from the 90's. It's an impressive but simple moment of fourth wall breaking. I will admit I love the concluding battle between Vampblade and the strange space worms. It is fluid, violent, and action packed.

While new character MOM Spaceknight is introduced, Artist Winston Young manages to make the ROM inspired character highly original. Though were left with a lot open as to the origin of the suit. Both creators do manage to share in a subtle and brief prologue that the suit belongs to Katie's mom, but that's what we're left with. At least I think it's someone who looks a lot like her mom, anyway. Long, lost twin sister? Forgotten cousin, who knows? All I know, is I want to know more.

Like previous issues, this issue doesn't skimp on the fourth wall breaks and humor. I will admit compared to earlier issues, this issue is more focused on the human element. That's in contrast to showing walls of strange, vampire, space worm things.

Vampblade is always ready to break the fourth wall in some random, frequently hilarious way. Writer Jason Martin manages to continue that with a focus on gaming puns. It even goes so far as to change her armor some into a character that made the original X-Box succeed. Given how it ends, I'm curious to see how the series continues from here.

Vampblade continues to entertain with a mix of humor, action, and mixing things up.

The series continues to mix humor and action while having fun with the comic medium and history as a whole.

Katie trying to blend in with the 1% of the rich makes for an interesting sight to behold and artist Winston Young delivers the humor and entertainment in the art. Between the two costume changes in this issue, the anime-Esque one is my favorite (so far). It manages to give Katie/Vampblade a much more dangerous looking appearance. Not to mention one very badass looking sword.

The portal's ending point appears to be technologically impressive. Which makes me wonder how much is yet to be revealed about the parasitic space vampires?

The art by Jimmy Broxton is dark, almost mysterious in nature. It all comes together to reveal very little about the world or the prophecy that foretells her awakening. The clothing the characters wear does suggest it takes place at some point in the future. But a lot remains to be seen and I can't wait to find out.

The art by Dietrich Smith and Joana Lafuente has a proper sense of contrast to it, as the story's viewpoint changes from Frankenstein's quest to the US and a mysterious cabal. While it is a simple but subtle move, it helps keep the plot moving. Frankenstein's monster makes for an interesting sight with a gaunt lanky design, which differs from classic depictions of a more built brick house. It reminds me some of Iron Maiden's mascot Eddie, except with hair and a long beard.

The art by KC Anderson is consistent, throughout. There is even a border on each page filled with runic lettering, that is historically accurate. An odd yet solid mix of light and dark, brings this odd world together.

The artwork by Guiu Vilanova manages to take the natural gritty darkness of noir, adding the tentacled brilliant strangeness of the Cthulhu mythos. While the odd nature of Greene's life is brilliantly polished, it does leave one with a sense of mystery and intrigue. The alien landscapes are gorgeously well done, managing to be balanced with the natural landscapes of a big city.

This Lovecraftian noir gets more intriguing by the issue.

The end panel by artist Guiu Vilanova stresses the weird out in this strangely awesome title. The art is a nice balance between the strange Lovecraftian like creatures and crime noir. Vilanova manages to contrast them in superb fashion, as things get increasingly weird with each issue.

I will admit the large transformation of the Juice Box Killer is superb and horrifying, artist Guiu Vilanova really kills that part of the comic. It helps bolster the already weird atmosphere this series had to begin with. There is a sinister side to all that as well and Vilanova manages to create more pressure between the Greene and Fayza in interesting ways through the art.

Weird Detective lives up to its name and is entertainingly weird.

It's been too long since we last saw Witchblade with some false starts, but it's nice to see any take and especially one that works so well in its debut issue.

For the most that part the art is superb, and realistic when the story is in the real world. However in the world of the mind, there is something about the artwork that reminds of me of Salivor Dali. Even though the world of the mind seems much more colorful for than the real world. Where in stark contrast the real seems to be done in darker tones, of red, black, and a few other colors.

The art is surreal, yet realistic in the real world. In contrast the world of the mind is strange, complex, and run more by the imagination than the rules of physics. That sort of works for it, as it helps bolster the surreal idea of diving into another person's mind.

Like previous issues, the art work by Doug Garbark is gorgeous. Even subtle at times, as more memories are revealed. I will the mind**** things are creepy, subtle, and filled with intriguing details.

The art by Edu Menna manages to do the same thing the story does. It manages to capture the struggle of the survivors, as they cope with their existence bringing the visuals of the show to the comic page. The first issue brings a decent amount of gore, flowing action, and violence. There's also some inspired melee weapon redesigns that merge raw killing power, with something a little more medieval.

The art by Edu Menna manages to shift some since this issue takes place entirely on board the Empresses of the Seas. It still feels consistent from the first issue and delivers a great visual of the world of Z Nation.

A solid start to a series that's entertaining and action packed and manages originality despite familiarity.

The art by Paulina Ganucheau continues to be well balanced. The issue shows off the “normal” aspects of the Zodiac Starforce members' life as they deal with family and school and then balances all of that with introducing parts of Cimmeria's kingdom. Despite the briefness of the glimpses, you can see the influence of Arabic and Medieval culture in it. It's impressive to be able to seamlessly blend things so unlike each other and make it all work so well.

Each tale has a different style of art as the three artists bring something different to each of them and the issue as a whole. Some are realistic, some are a-little over the top and cartoon-ish, and it gives the book a an odd sense of balance. It works oddly well since it gives the issue two things. The first is a clear break between stories and the second is it enriches each story in a superb manner making each unique.