In each chapter of this first issue, Martin features Tank Girl in some very strange and very entertaining missions. Despite the book being no longer than a normal monthly single issue, 21st Century Tank Girl feels packed with material thanks to its anthology format. For long time fans of the character, this new issue will be a lot of fun. For new readers, there is certainly enough in here, from the varying art styles to the crudeness of the characters to keep most entertained. Tank Girl is likely to have a very specific audience, but it still manages to be enjoyable.

The opening issue of this mini series is certainly an enjoyable one. Though it functions mostly as an introduction to the cast and premise, Langridge does a good job to indicate what is to come. Though fairly simple, the book is well crafted in both script and art.

The man, a mere meth addict moments ago, has become a true match for Superman. He even survives a gas main explosion, never flinching despite standing over it as it erupted. Jeff Parker's story is simple but closes with a really great scene that expands this event from something isolated and possibly random to much more. Adventures of Superman #1‘s strong finish confirms that the anthology title can deliver on bringing a light tone without sacrificing a strong story.

The book closes with the boys discussing their roles for next time. No matter what, they decide, Superman wins. Why? Because he does. He just does.

DeMatteis arrives at the stories conclusion very haphazardly. Though the seeds of it can be traced back throughout, it still makes a significant leap from where it is to where it needs to be. The conclusion is still great but its impact is undermined. This is due in part to a very strange panel sequence in the middle of the book. Though on a more careful read the audience can understand what has transpired, the way in which it is presented is terribly confusion to the point that many may believe there is an error in the file. Still, at the cost of the issue, Camuncoli's art and the colouring on the issue by Tony Avina are bursting with energy and the story's closing is interesting enough to make this worth picking up.

Adventures of Superman #6 is a decent issue. Glass and Oeming have great intentions and touch on a very interesting subject. While not unique, it is still a fascinating discussion and they find a way to bring about a conclusion that feels very much aligned to the core of Superman's character. The book still falls short of fantastic due to its disinterest in reaching these themes in any meaningful way.

The creative team, together, handle the first ongoing story for Adventureswell. And though it strays from the levity of the previous chapters it still has a level of quality that sets it above the in-continuity titles. As such, DC's Adventures of Superman remains the best Superman title currently running.

Loughridge presents the two different characters in specific color tones, almost as if these colors were the visual equivalent of musical queue for a character. Lex is always presented on panels that are prominently yellow or green. Meanwhile, the scenes with Superman have tones of reds and purples. The two characters are not on the same page together until the very end when the stories converge. Even Craig's panel designs show Luthor's grids always broken up horizontally and vertically in standard grids, never breaking panel borders. Superman, however, is not always contained within the panel and many panels are angled and overlaid. As a result, issue #10 is in sync throughout and a very good chapter.

Because of the very strong subject on display here and the impact it has when it is left unspoiled, it is difficult to parse out the latter half of the issue. After the next chapter, and once this story concludes, it will be worth looking at and discussing as a whole. For now, suffice it to say that this is a bold and dark story that deals with idols and hero-worship in a somewhat twisted way. Readers may not find themselves struggling with how to process what Lapham addresses here, but it is to no discredit to the author. It's a curious issue and one that is especially unexpected in a Superman comic.

The conclusion of the story is well pieced together. The seeds for its resolution have been well placed to make for a satisfying end. Much discussion could even be made of the reality of the final beats of the issue as they compare to the ideology and faith of this community. Lapham's decision to fit in the opening sequence and feel the need to have an explanation behind the existence of such a community muddy the overall impact of the second part of this story. Addressing such a complex topic in so short a time is admirable but loses some of its effect to this misstep. Still, this two-part arc is well worth the time, even only for the discussion it could provoke.

Ultimately, All-New Doop #1 is decent. There is some fun to be had with Doop and his misadventures, and it often looks great. If the book is going to find the same magic that Doop had with Aaron, Milligan will need to put Doop into a different story so that readers can follow him in a more engaging way. That is not to say the revisionist-history format is a problem. Maybe having Doop pop into major Marvel events that are more widely known to see how he factored in could provide for some entertainment. Or maybe something different needs to be done with him. Either way, the next few issues will determine if there is enough to say with this character to warrant a solo title.

This issue is significantly shorter than the first. The story comes to a close with a reveal of Callum's greater plan in how he wants to use Paragon. Jay Faerber does a good job, again, shaping his characters, and ending strong. It will be interesting to see how long such a petty character can overpower this superhero. That dynamic alone is worth diving into this series. Anti-Hero #2 is another solid entry.

As the series has progressed, the concluding moments of each chapter have been great cliffhangers. Faerber creates fantastic teases on which to leave the chapter. Issue six is no different, and once more, readers will be excited to see just how this all plays out.

Series regular, Ben Stenbeck, is not on art duties this time around. Instead, Peter Bergting takes the helm. Dave Stewart definitely helps keeps the tone of Baltimore, but Bergting's art is still different. The issue feels a bit lighter from Bergting's cartooning. That in conjunction with a slightly simpler opening issue makes this return of Baltimore a little underwhelming. That being said, the first chapter has no problems and is still enjoyable. Hopefully the second issue dives a bit more into the mysteries of this new curse and amps up the suspense.

While the art has its moments of unevenness, Mignola and Golden seem to have stepped up immensely in this issue. Not only is the tension and suspense better constructed, but there are a number of moments of dialogue that are really fantastic. It is great to see this series when it pops up periodically, and the somewhat subdued opening called into question whether the story of Lord Henry Baltimore had run its course. But, after issue #2 of The Witch of Harju, Mignola and Golden prove that they have compelling stories for this universe. In the final act of the issue, the story expands and the dark magic that appears to be at work, and this evil that has come to the town may truly make for a spectacle next month.

Paul Tobin has a great handle on his characters and script. Those who have read Colder will be hard pressed to find any of that story here. Bandette is a completely different vision and so crafted. Though the title may appear to be all-ages, there are moments that push the appropriateness to a higher age group. Still, much of the dialogue and interactions have a whimsical nature about them. Bandette, though away for a few months, is just as fun as ever and even new readers will find it easy to jump in and be captivated.

The story beats of the series are not trying to break new ground, but the personality of the cast of characters, along with the visual appeal of Bandette, make every chapter a rich experience.

In the sixth issue, Bandette reintroduces the audience to the major players and tone of the series before taking off in a bold new direction. A lot of ground is covered, and a more sinister story line appears to be ahead. Even so, Tobin and Coover start this new arc as confidently as the first, and readers will be quite satisfied.

On the whole, Bandette has so much to offer. From the surface, the book is incredibly fun. Coover's art looks like it has gotten better with each issue, despite it always looking flawless. The interactions of the characters and the personalities of the major players all create some great engagement. Added in this arc is the suspense and threat of a much more qualified foe in Il Tredici. The series has found a way to continue to be fresh and exciting while never losing sight of how it started.

One particular sequence handled here is a great example of the craft of Simone. When Ricky calls Barbara after realizing what he has gotten himself into with the 68 Kings, the scene that follows is one that readers have seen before. But, Simone does not play up the drama and sappiness of the conversation, instead making it very brief and cold. Gutierrez is a man with a mission and no time to waste and the sense of reality this scene carries makes it all the more effective. Fernando Pasarin and Jonathan Glapion combine to add a very solid visual story to the issue. There is a lot of desperation and bleakness to the story and the art matches that tone. The start of this arc, entitled Batgirl Wanted, comes out impressively strong. It appears, despite how often comics take a hit for maintaining a status quo, Simone is taking these characters down a road that will alter who they are, and that weight is felt.

Simone does a great job in the issue with both the concentration on character as well as the structure of the issue with regard to plot. There is a lot of tragedy underneath much of the events transpiring in this arc. Placing characters in these situations that fall into a “wrong place, wrong time” situation heightens the weight of the fallout. Gail Simone is also able to garner similar emotional responses from the reader as her characters are experiencing. It all amounts to another very well rounded chapter in the ongoing series. And just like last time, readers will be left wishing there were more pages to turn.

It also must be said that, though not a fault of the creative team, this is the second interruption to the ongoing arc in Batgirl. An arc that is born out of an incredibly strong moment and one that is dealing with identity and family, these sidesteps are deflating any impact that the storyline may have for readers following along monthly. In that vein, had Bennett managed to accent Barbaras relationship to James Jr. a bit more in this issue as it puts her in a role of protecting him amidst the chaos, there may have been a bit more resonance with this issues events as readers return to the arc next month. As it stands, this is a mediocre issue with that does not accomplish enough to warrant the departure from the current story in the title.

On the whole, the first issue of Batman '66 is a success. The title could be a lot of fun, but it will require the creative teams to continue to straddle that line in the same way that Parker and Case managed to in this opening story. It will be interesting to see how long the level of quality in personnel and final product can be maintained. For now, because of its single-panel presentation, the book feels like it contains a lot of story, making it well worth its cover price.

Case continues to match the tone of Batman '66perfectly. The visual cues that he uses, how the characters are rendered, and the general make up of the settings all deliver on the promise of a series meant to channel Adam West's Batman. Even more than in the first issue, the overlaying of some of the sound-effect words during the action scenes fit the moments so well. Parker, likewise, also maintains the right balance of those elements without the series ever leaning too far towards satire. Next issue will see the conclusion of this first arc, and so far this series is definitely a ton of fun.

Batman '66 continues to be a ton of fun. Even without the panel transitions, Parker's script is just as entertaining as it had been. Fans of that storytelling will continue to find a lot to love.

As has been the case throughout, the art style that Nguyen utilizes on the book is absolutely stunning and unique. While DC may receive a lot of complaints about the visuals on their print books, the creators and look of their digital line present a very different side of the company. L'il Gotham is a blast to read and is written in a way that readers can pick it up anywhere and not miss a thing. It looks as those next issue may follow Damian's adventures while Bruce was away, and it is sure to be every bit as entertaining.

As with the rest of the series, Nguyen's art style on the title is simply magnificent. Here, each of the possible explanations to Alfred's actions adopts its own slight shift in art style and coloring. Every tale is as entertaining as the last, and some even feel as they could be their own little shorts. Nguyen and Fridolfs remind the audience that many of the members of this Bat-family are still very young and it is easy to believe that individuals of this age would take something so simple and run with it to all kinds of ends. Li'l Gotham is still one of the better digital titles that DC is putting out, and this issue is a prime example for that.

The climax of the issue when met with Damians commentary fuse to create some serious laughter. All Saints Day was an unexpected holiday to choose, but Nguyen and Fridolfs prove once again that they have a solid handle on the series and its characters, and everything else falls into place gracefully.

When a series has such a high bar for quality, a decent entry can feel disappointing. More important, however, is the reality of just how routinely magnificent Nguyen and Fridolfs have been. The twenty-second chapter of the Lil Gotham is in no way poor and is still a high quality release. Still, readers may find themselves a little less satisfied this time around.

One again, Nguyen finds a great balance to the issue in how he renders and paces the talking scenes with the action. The book shifts from brawls to dialogue a few times in the issue. Despite that, the momentum of the plot and the tension of the situation follows evenly from the opening panel. Nguyen and Fridolfs have a lot of fun with this issues storyline. The names of the Condiment Kings henchmen, jokes about the burgers at this restaurant and some fun little moments lend to a very worthwhile Batman: Lil Gotham. As the series winds down, readers will continue to find the same level of quality as they had when it first launched.

It continues to be a question of intent and degrees with each story told in this series. As Mikey works to persuade and warp the allegiance of his brother, readers continually have to question the purpose of these tales, how truthful they are, and ultimately, what has really happened to the savior to send him down this dark path. The issue has one last tease up its sleeve before ending for the month, but its enough to add an entirely new dynamic to the plot of this series. Birthright #11 is a somewhat contained issue as it affects the momentum of the book, but an important one for its characters.

In the final pages of the book, however, the energy returns. Not only do the brothers come across their next target, but readers are presented with a reveal that is really fantastic. Not only does it have excellent narrative weight and some serious shock value, but it is also the best visual moment of the issue. Bressans design of the final page, along with brilliant colors from Lucas really help pull the issue up in its final moments and reinvigorate the excitement of the series as it leads into the next issue. It is that ending tease that gives indication that what lies ahead will surely impress.

Birthright #13 both advances the story and features the titles best action sequence in both script and art. During the battle, Sameals blades trigger a flurry of images that depict the boy Mikey once was, scared and crying in the woods. Intriguingly, the creators include one image here that had not been shown before, and it provides a glimpse into what may have happened the day he attempted to take on the God King Lore. The brief panel, along with another solid cliffhanger will have readers clamoring for the next issue.

Black Magick #1 is an excellent debut issue from some of the most impressive talents in comics. While double-life characters are not new to the medium, there is certainly something fresh about Rowan Black and the story presented in this opening chapter. And with a few more seeds in the back of the book, it is clear that there is much ahead to discover.

Here, in the second issue of Black Magick, the creative team have done a magnificent job in developing more of their universe and giving a sense of direction for the story in very natural ways. The spark of color in this issue feels less necessary than did the moment in the first issue, but it is possible that this moment will have implications later. With excellent development of characters and a number of compelling mysteries, Rucka and Scott have given the audience exactly enough to be anxiously anticipating the next chapter.

In slow-burn books, sometimes issues can feel a bit more mundane as a stand-alone chapter. Still, the overall narrative and universe that are being crafted by Rucka and Scott have much promise. Black Magick #4 is not a standout issue, but is still filled with strong moments.

Bergen is stretching his chops here and has partnered with some solid talent on art. With no color to help differentiate the stories and styles, each artist comes with their own flare and there is no confusion or overlap to be seen. With an anthology book, the risk is incredibly lowered for readers giving the book a try and failing to find something to love. There are six stories here and each succeeds, some impressively so.

For as much as Barbiere and the art team communicate to the readers in this opening issue, there are a number of pieces that are insinuated. The end result is an issue that feels incredibly developed and dense while building a massive sense of intrigue about the universe and conflict presented. Elena Marlowe feels like a character that is rather transparent, and yet a few oddities call almost all of what has been presented into question. Coupled with a fantastic final act, and Broken World #1 makes for a very impressive start to a book that will have readers coming out to their local shops the first chance they can to see what happens next.

As the issue rounds out, there are still a number of unknowns surrounding Elena, the Pax group and the situation on Earth. With only one issue to go in the series, it will be interesting to see just how the creators intend to find a resolution. Barbiere has introduced a number of interesting story elements and the universe of Broken World is impressively rich. The third issue of the series maintains this intrigue, but with so much ground still to cover it feels a like there will be a lot packed into the final chapter. It is possibly with that in mind that this chapter seems slightly underwhelming.

The story's third act delivers impressively well. The issue expands quickly from its character focused confession to a much larger world. It does not require anything massive in terms of its plot events. However, Buzzkill confirms in its conclusion that this is a series with a great deal of control and craft shaping it. The creative team work together to present a fantastic first issue and readers will think they have a handle on the world, only to be fooled and left yearning for more stories.

Could a partnership between the boy and the superhero be brewing? What foes will they face in the future? As long as Bailey and Esposito can deliver on their intent without becoming too focused on drawing comparisons across the medium, Captain Ultimate will be a great family book.

All in all this is an issue that brings a great spirit to the holiday. The series provides some pure entertainment that finds ways to entertain readers of varying ages, slipping in references but never weighing itself down in trying to appeal too much to any one audience. With the paired art by Boykoesh that is ripe with vibrancy and movement, Captain Ultimate #4 is worth checking out.

Unfortunately, it is at this point that the issue starts to really lose momentum. Miles reunites with his costumed friends that he'd previously teamed up with in an attempt to save people in the city. The rescue effort takes up several pages but lacks any real urgency or purpose. Simultaneously, as this is slated as the last issue of the title, at least for now, far too much is left up in the air. It looks as those some of these loose ends may find resolution in the main event title. But for such a long running series, it is disappointing to have such a lack of closure within the pages of this title. Regular readers will have to seek out the other books connected to the event to find out if closure will even occur or what the future may hold for the characters they have followed for so long. Surely this cant be the last of the Ultimate Spider-Man universe, can it? If so, it is not the ending the title deserves.

Once readers meet Danny Reilly, the book really gains a personality. While the first half is full of style and intrigue, Reilly brings an energy that rockets the final segment of the story forward. Though the general trajectory of this opening might be transparent early, the final few pages are certainly a nice bit of excitement. The story does not quite proceed as expected, and the place Millar brings readers before the close sets up a fantastic first arc. It will certainly be exciting to see just how much story Millar has for this universe, but after just one issue, there appears to be a limitless number of places to go.

All in all, this first issue is every bit the story that was pitched. Charles and his limited language is a character that audiences will invest in quickly. The plot is simple, but it is the characters and visuals that are what matter here. Pak and Miyazawa are taking the elements of Jonathan Coulton's songs and breathing life into them in an unforeseen way. What this makes for is a pure sense of entertainment that anyone can enjoy.

The structure of the first issue, from its opening tease, to how it concludes makes for a fantastic way to hook new readers. Wilson and Warren capture the noir genre quite well but still manage to do so with a light sensibility. The inclusion of robotic characters does not betray the core elements of a noir story but the choice does keep the overall reading experience from getting gritty or dark. It all fits together quite well and issue one is a promising start. The first issue has a bit of a confusing sequence in the middle where the speakers are a bit difficult to track amidst an altercation, but it is a small detraction from a well written book. Otherwise, Copernicus Jones: Robot Detective#1 is a very strong first chapter. Though Wilson utilizes a bit of a writing trope here, he justifies it and proves that it plays as an excellent format for introducing a new universe to readers.

As the chapter comes to a close, readers will be trying to figure this whole thing out. There are not that many pieces, and yet none of them seem to quite fit together. Jones finds a few clues and seems to be on his way to a solution when he realizes that he is no more in the know than he was when he was handed the case. This entire thing seems to have been purposeful and it will leave not only Jones but readers too looking for more pages as the story concludes in issue two. There is no question that readers will be coming back for more.

All in all, Copernicus Jones #3 is a solid issue. The story doesn't advance too far, but a lot of pieces are moving into place and it includes enough small moments to keep readers invested.

Miner does a great job scripting natural conversation that provides glimpses into these characters and their history, offering just enough without impeding the momentum of the story. The issue works its way back to its opening sequence and leaves readers on a climactic moment. There are still a number of questions in play as Miner leaves a lot off the page, and it will certainly be interesting to see how the story takes shape in the coming issues.

After two issues of Critical Hit, the story is filling itself in. It remains unclear if the issues will focus around this encounter and the events that led to it, or if it will branch out more. As of now, the energy and tension that has been maintained so far has been satisfying enough. With only two of the core team involved in the present day plot, it will be curious to see if the others come into play before Bill gets carried away. Ultimately, Critical Hit remains a strong title.

Ramon, also, has a lot of inconsistencies in his art. D4VE and some other characters look well thought out. Other one-panel characters come off as rushed and quite often the backgrounds of panels drop out entirely. For the many great moments that show promise, D4VE #1 has almost as many that dont quite work. Ferrier has a good sense of writing the characters voice and Ramon show a lot of potential. If the two creators can even the book out a bit more, D4VE is likely to be a really strong series.

Landry Walker presented, from the very beginning, a book that was about superheroes, but about the genre of superhero comics at the same time. Though it was subtle in the beginning, the story unfolded into something that found an amazing balance between those concepts.

The storys conclusion is an unexpected one. Though the unreliable narrator is a frequently used trope, Sebelas scripting, dialogue and conclusion of issue one all point to this story having a lot more to offer than the opening familiarity might otherwise communicate. Instead, those opening pages act as a solid hook and quickly develop into something unique. As the panel pulls back to provide the widest perspective thus far in the story, the script reveal and art work fuse to make for a fantastic final page. Though there are a number of lines from this first story that could be included to convey the craft on display, readers should instead get to discover them on their own. Ultimately, if people can appreciate the artistic choices of Chris Visions, they are sure to come away very satisfied with this new series from BOOM! Studios.

There are certainly a lot of fantastic pieces to Dead Letters. The story has a lot of energy, and when it is given the space to pick up speed, it really works. The narration and exposition heavy portions of the second issue weighs things down a bit. Visions and Redmond continue to craft some incredibly intricate and interesting visuals. The heaviness of the line work and the sometimes muddy coloring makes discerning what the images are meant to depict more work. These notches remain minor in the face of a strong concept and should not stand in the way of readers checking this out.

At one point, in one of many exchanges, a character makes mention of Sam not belonging. There is some indication given to his character being different in some way, and that it is possible that his inability to remember dying is connected. Sebela may have a bit too much written on the page in issue 3, but he still continues to plant very intriguing seeds. Chris Vision's puts out the best cover of the series so far. The imagery on display is gorgeous and it's coloring is just as impressive. Ruth Redmond works with Vision's style quite well and the two combine for some really fantastic pages. Their loose style, though, does work against the story in a few moments when the panel work makes a sequence a bit of a challenge. Overall, though, the art is quite gorgeous. As the story moves forward, the final pages promise for some interesting moments to come in the Dead Letters universe.

With the second issue of Deadly Class, it is looks like Remender has a long play in mind. Though the premise sounds like it will be filled with action sequences, there is a large focus on character and human interaction here. This is not as bombastic as Remender's Black Science, but the work being done here is magnificent. Those willing to see it through are likely to be rewarded with something possibly even greater.

The story's end is brilliant and may be what cements the overall direction of this chapter in solidifying the capability of the series and its suggested intentions as organic and logically connected. Marcus and Willie retreat back to a familiar stopping ground of Marcus' as the day begins to break having chosen to bail on their homework. As the closing sequence transpires, a stark and unforgettable scene, the perspective pulls back over a few panels. Colors shift, figures become forms before they are impossible to make out at all. The scene is quiet, small and it's an amazing juxtaposition to what has just transpired. Something so significant and yet barely significant at all. Who would even notice? In an issue meant to take on allusions and delusions of self worth and perception, Remender and Craig finish with their strongest argument for the position and it might be the best issue ofDeadly Class so far.

The latest issue of Deadly Class is definitely a unique one, and with a big gap between where it starts and where it finishes still existing, this is going to carry over at least another issue. As a result, the book feels a little disappointing only in that readers are going to wish they had more of a complete tale. Instead, they will have to wait to see how it all comes together. Remender doesn't disappoint though, not only providing some fun sequences, but closing with a very interesting tease. Not the best issue so far, Deadly Class #4 is still a solid book with fantastic art and possibly the best cover of the run so far.

In addition to great writing, the art is even stronger in this issue. Moving from sequences of cold, calm realism to the very violent to the very trippy, Craig and Loughridge are a fantastic match. The chase scene towards the end of the issue is incredibly anxiety inducing. While the writing seems more focused on an existential reflection, the gravity and immediacy of the threat is all communicated through the art. All told, this is a fantastic issue.

Once again, Remender is able to perfectly capture core human emotions and associations. The final two pages evoke a very specific sensation and make for an excellent send off. The group is now bonded, and it looks like they'll need that for what lies ahead.

Wes Craig continues to match Remender page after page in skill and the book has a number of fantastic images, from the large head of Mistress Ranks beneath a crucifix to the small and implicit images of violence and horror. Partnered with and complimented by the talents of Lee Loughridge, the book, for as unsettling as it may be, is continuously an ambitious and exciting read.

As the issue comes to a close, the series moves back towards its initial issues in tone and focus as it feels more like a reflection on teenage life, high school and impulse. Marcus's decisions in the latter portion of Deadly Class #9 are expected, though still frustrating. Remender manages to keep the progression of the character authentic, leaving most readers understanding of, but annoyed with, Marcus. And it comes in the letters page that readers really don't know much about one of the major characters. Though that shouldn't be a surprise, like Marcus many readers may not have realized just how little they know despite developing an instant trust and fondness of this individual. With that and a tease of the cover for issue 10, the final pages of this issue certainly do well to tease what lies ahead.

In the latter portion of this issue, the crew from the boarding school set out to carry out their assault on the residence belonging to Marcus long time rival. A retaliation set in motion back in Las Vegas, the sequence is presented in an Oceans Eleven like sequence as Craig and Remender blend the blueprints and planning with the actual event. But acting on emotion leaves a person vulnerable, and the tactical invasion does not go quite as planned. As several storylines come crashing together, bullets flying about, the book maybe gives the perfect rationalization of just why Remender has Marcus choose to retaliate the way he did at the comic shop. It may be juvenile, and it may be overt, but thats exactly the spirit of the series. Marcus is a teenager, impulsive and headstrong, and in no way subtle. Maybe its perfect that the metaphor is as well, leaving the teen literally drenchedin his own mess as elements of his past and present choices all come to a head.

There is a raw energy to the entire issue. Marcus spirit leaves him at one point, floating up to the street as he recognizes his distance from both the world around him and the world above him. Later, the boy dreams of a picture from his childhood home, as he remembers days with his father. In each sequence, from the beginning of the issue, through its final moments, the creative team has taken the time to reflect on where the lead character has found himself after the series of events of the last arc. The book has been on a speeding train; now that it has found a bit of calm, the demons have crept back into Marcus head. This is an issue that spends much of its time in the mind of this broken teen. Its heavy and truthful and filled with emotion. Despite being a change of pace from the past string of issues, the craft and quality by Remender, Craig and Loughridge are no less impeccable. Deadly Class #14 is as strong an issue as any that have come in the series so far.

The enjoyment of this issue and the present situation the students have fallen into might somewhat hinge on where readers fall on this aspect of the narrative. While Remender, Craig and Boyd continue to do excellent work, it may be somewhat hindered by a few decisions. Still, this story arc looks to bring an entirely new dynamic to Deadly Class. As the divisions set it, a brand new layer emerges to this story.

Crafting a story that aims to reach both the familiar and unfamiliar as is the case with Dragon Age: Magekillers can lead to some disjointed storytelling. Here, the creative team has shown no signs of wavering, and the first issue introduces readers to very engaging lead characters and a story that has real urgency. There should be no hesitation, then, to giving this new series a chance.

The characters that have been established in Dragon Age: Magekiller are certainly compelling. Even though this issue feels a bit underwhelming in plot, there are still a number of interesting aspects to it as it contributes to the ongoing plot. With quality art as well, the series continues to be a worthwhile read.

With very little to go on after just an issue, it remains to be seen if the creative team are able to pull this all together. At the very least, Lewis is to be commended for such a unique vision in pairing these elements together. In choosing such a distinct style of commentary on this world that exists today, there is a high bar set for Lewis, Oliveira and Cabral. Readers may just have to be a little patient to let these elements come together. For now, Drones #1 has not quite hit that mark.

By the end of the story, it is clear that the creators have a grand vision for this story. It is hard to decide just what mystery is the most intriguing and what will follow in issue two. What is going on in that stand-alone page of a future city where roses are exchanged? The only way to find out is to get on board. Ei8ht looks destined to be one of the years best.

It is absolutely unclear just what the creators have in mind for the series as of yet. This type of book looks as though it will choose exactly when and how readers will be let in on its many secrets. Fortunately, the unique premise and excellent art have created a strong base to build from. Fans of Albuquerques talents will have reason enough to stick around. For others, the concepts at work here are refreshing and confident. This, certainly, is a series to watch.

What works best within Ei8ht, though, is the voices that have been captured so early and effectively. The story is big and the ways in which it could go certainly have few limits. But the ability for the reader to invest in the characters is where a book finds its legs. Albuquerque and Johnson have been effective in that regard from the very beginning. In a stand out, but small moment, in this issue, Hari attempts to convince his older sister and Joshua to follow him, soon after revealing his mode of transport. This image and the quick banter to follow create an excellent little exchange. With a sense of their characters and the series will no doubt be enjoyable to follow no matter where the creators take it.

All in all, Ei8ht #4 is a really solid issue. Albuquerque and Johnson put together the best chapter in the series thus far. With only one issue to go, there is still a lot to see. But if the momentum and events of this issue are any indication, readers are in for a real treat next month.

In moments, sporadically placed in the issues thus far, the creative team have left clues and intentional mysteries about the makeup of The Meld and just how the timeline of events leading different characters to this place has worked. However, many elements of the story have not quite connected just yet. In the final pages of this fifth issue, Ei8ht ventures down a path that looks to potentially answer these mysteries with even more unknowns. The lack of answers is a bit underwhelming, as this is the final issue of the story. That is, until the final page suggests this is only the start. With knowledge that Ei8ht has much more ahead, the elements that remain unknown when added to the new dynamics offered in this issue only raise the bar of intrigue for this storys universe. Though Ei8ht has had a few bumps in the road, the latter half of this first arc, and the promise of more should leave readers rather satisfied awaiting the next arc in the story.

The plot still feels mostly like setup so far. Blackman plants a few more seeds in this second issue, and it appears as though the story is about to make a jump in setting again. After two issues, Blackman's scripting has seemed to be intent on laying some basic ground work, but also providing ample space to showcase the art of Michael Del Mundo. As a result, the story remains a bit simple thus far. However, his scripts have included incredibly well crafted moments and Del Mundo's art is not to be missed. It is still unclear what Elektra will be, but for the art alone this is a title that should be in everyone's hands.

Once again, Elektra is a fantastic book. It is a wonder how Del Mundo can maintain this quality on a monthly basis, but while it exists, people would do well to be following this series. For the time being, those who are should cherish it.

As the issue concludes, the story teases what is to come next and Elektra is still balancing who she might be. Once more, Blackman's script paired with Del Mundo's artistic talents generate a beautiful page that splits Elektra's wishes and instinct down the middle. It will be interesting to see as the story progresses how this internal battle continues to play, but as of this issue, it seems as though one side stands dominant over the other.

Though the action and pacing of the first issue are impressive, the overall story or aim of Empty Zone are not clear just yet. Corinne, a work-for-hire agent, has some special skills when it comes to the tech world. She ventures to a local bar to meet her mark as assigned by 8. Her aims and the stakes involved are all rather opaque in this opening story. Readers will meet a few other major characters, but the opening chapter is mostly an adjustment into the setting and visual makeup of this new environment. Despite learning very little about the direction of the story, Alexanders craft and the beautiful color work from Luis Nct deliver an excellent reading experience. For those looking for something unique and with stunning art to boot, Empty Zone #1 is certainly worth a read.

Jenkins includes some other intriguing moments in the issue, including some other recognizable characters and nods to the overarching theme of the restrictions of the characters will power. The balance in this issue is even better handled, as the consideration for the ramifications of deviancy, will, and control feel a bit more subtle. At one point, Jenkins includes a scene that asks why a person would act mean if they could act differently. While the story manages to be both visually and conceptually involved enough to be engaging for adult and young adult readers, the messages about being a free-thinker and kindness resonate to a wider audience. With recognizable characters and a very exciting surface story, Jenkins, Ramos and Olea continue to craft a very impressive and worthwhile story. The universe in Fairy Quest is rich with potential and with a solid tease to end the issue, readers will be craving more of this series, yet again.

The book has a number of quality ideas, and Haberlin has a clear idea of his cast and the dynamics that will make exploring space along with them very exciting. Added to it the very cool and impressive content through the AR portion of the print comic, and Faster than Light certainly has a lot to enjoy. If the ending is any indication of events to come, there is sure to be more excitement in the second issue. As for the first chapter, the book has not quite hit its mark.

Feathers is absolutely a must read. The craft of Corona from writing to art, and with a brand new world brought to life with Jen Hickman's colors, Feathers manages to entice readers and build piece by piece. There are a number of these bits seeded at this point that readers will want to learn more about, creating their own theories between issues. All the while, real threats like the royal guard, Z and the man in the shadows keep the tension rising.

The final pages of this story are definitely unexpected. Just as readers think they might finally learn more about this mysterious figure, the story shifts and offers an entirely different new problem. It is unclear just what is going on in the final moments of Feathers #4. One thing that is certain is that Poe has found his way into a brand new type of danger. With only two issues left, readers of this series will be counting the days for the next piece of this story.

Penultimate issues have a tendency to spend much of the time setting up the story for a grand finale. When read in the monthly format, this choice can sometimes cause the chapter to feel a bit underwhelming. With Feathers #5, Corona and Hickman manage to infuse the book with enough new information along with their excellent storytelling to ensure that the final product is still worthwhile.

In the end, the story transitions into an epilogue as two voices exchange their thoughts on the events of the past few issues. Readers see a universe changed, as Poe maintains his friendship with Bianca and presence in The City. Corona is able to touch on many of the unaddressed pieces of the universe he created through this exchange. The voices are not revealed, but hinted at as the book teases that something much larger has been set in motion; something older that is soon to be unleashed. The epilogue packs so much in just this one exchange that it raises the entire series up and sets up what may lie ahead leaving readers with insatiable anticipation.

The idea is pretty interesting this time around. While Fairy Quest seems to be more of a concept of free will and adventures, which could connect with readers differently depending on their ages, Fiction Squad has a much more noir and crime drama tone. Jenkins has presented some great ideas already in issue one, and the seeds of what is to come make this a pretty cool new series. As Detective Mack turns to some of his regular sources, there is a smart use of a lot of the characters and their stories. A few instances tend to grate a bit as the puns and nods to the nursery rhymes wear a little as the story moves forward. Still, the integration of the different worlds and tales make the overall experience rather fun and Fiction Squad #1 is a good opening chapter.

While the first issue does not focus on any one of its settings or characters for very long, this vignette-type approach along with the map of Akhar to close out the issue certainly suggests that the creators have much in store for readers. From Under Mountains #1 has only just scratched the surface, it seems, and with what readers already have witnessed here it is exciting to imagine what lies ahead.

Readers will do well to give this action story a try. With its introductory 0-issue at no cost, and an engaging first issue, the only drawback is the wait for more.

Editor's Note: Make sure you pre-order this book, due out April 16! For more information, check out ImageComics.com.

Templesmith is fantastic once again, and though his covers boast a disfigured and gross aesthetic, Fawkes writing and Templesmith's visual choices within the story evoke a much deeper unsettling sensation. As the issue comes to a close, the story connects itself to what has come before. Gotham by Midnight is like nothing else DC Comics is publishing right now. Lets hope it sticks around for a while, because Fawkes and Templesmith are surely just getting started.

Though Fawkes and Templesmith escalate their young series in Midnight #4, the book does not find its resolution. This, however, is no disappointment to the reader as it teases another issue of events on this level next month. Fans best settle in, because Gotham by Midnight is definitely heating up. And for everyone else, there are thirty days to get on board before issue five.

Ultimately, Graveyard Shift #1 functions as a solid introductory issue with a few bumps. The time and attention that the creators are paying to the series are bound to pay off as the series continues forward. Faerber lays out an interesting premise in the issues back up material. Though that dynamic isnt presented in this issue, the idea of this cop partnering with his undead girlfriend to fight this battle and find a cure certainly sounds interesting. As such, the first chapter is more like an issue zero. It will take at least one more for readers to see just what Faerber and Bueno have planned.

The visual aesthetic to this issue, made up of its artwork as well as the presentation of the panels, and use of the Guided View movements and transitions, is a treat. Once again, this short excerpt does exactly what is necessary, capturing the essence of a character through a single event. The restraint on Brian Bendis' part to reduce the amount of words in the entry, and create impactful delivery to the instances in which they appear, reminds readers just how impressive an author he is. There is one chapter left in this team-building story, and it looks to be equally excellent.

Stories that look to deviate from the norm take a significant risk with attracting an audience. However, if they are able to do so successfully, the audience they maintain will be all the more engaged and invested because of the experience they have been provided.

Hellbreak #1 is a fun and well-crafted first issue that takes a very different approach to a story about possessed individuals. The fusion of a military faction running rescue missions with the underworld makes for a solid read. At times, the action scenes do feel a bit stunted in their use of streak-color backgrounds in place of the environment. However, the overall production of the issue and inclusion of a number of threads to establish the larger scope of the series all combine for a satisfying opening issue.

It was unclear through the first portion of this second issue as to whether or not the creators were looking to treat each issue as its own singular story. As many series have chosen to do in the past, that approach would tackle the idea that there are a number of different hells, presenting readers with a different one each time. However, as the story sits with Mr. Romero longer than expected, Bunn changes the pace a bit, having this second encounter take the story into the next issue. As Hellbreak is still rather young, it remains to be seen just what grander story is being told. However, with fantastic artistic talent and the quality writing that was on display in this second issue, readers will be entertained thoroughly with these missions until the story grows into something even larger.

It is hard to believe that much good can come out of Zan's brash series of decisions, but Sebela and Moustafa are ensuring there will be a growing audience to witness the outcome, no matter what it may be.

There is a lot of tragedy put into place in this issue. As the pieces begin to move together, the fate of all involved appears ever grimmer. Between knowing the outcome of Mars and the acknowledgement of her likely demise by Zan, watching the players continue forth only deepens the Shakespearean effect at play. Zan is at her strongest in voice and action in this issue, and her final act prior to leaving base camp is a fantastic summation of her persona. Sebela has crafted a memorable character in Zan, and her ideals, though not historically morale, shine here. Crimes is one of the best stories in the digital market right now.

The story comes full circle with a closing moment that almost feels more impactful, but in a much more subtle way, as a counter to that sense of invisibility that Zan reflected on. Though the on-screen events of this issue stay a bit more even-keel, it is a very well done issue and takes a moment to remind readers that the easiest parts of this journey are in the past. It's only going to increase in danger, tension, and likely in quality of storytelling as High Crimes moves into the second half of its tale.

This series has been missed, and in its return it proves itself amongst the best out there right now.

There is no question the care that the creators have been putting into High Crimes since the start. But with each issue, there seems to be even more on every page. When it is all said and done, High Crimes is likely to be one of the more memorable series in recent years.

Hit 1957 has a lot going for it. When the issue's many elements find their rhythm, the issue is absolutely fantastic and showcase just how great the arc can be. The slight overwhelming sensation early from gathering so much information and the few sequences that have some trouble with balancing the colors create some minor bumps. Still, there is more than enough here to be confident in looking forward to the next issue and expecting great things in this new arc.

Huck is rather straightforward in its construction. Even still, there is something remarkable and refreshing about this first issue. Mark Millar and Rafael Albuquerque have brought readers something charming and their talents make this an adventure that will be very worth reading.

Huck has been impressive in its first two issues. With absolutely wonderful art and an unexpected progression in story, this book is definitely a treat.

Complete with yet another worrying teaser ending, Huck #3 maintains the same caliber and investment as the previous chapters had. Following up on the cliffhanger from the second issue, Millar presses a bit harder on those concerns for what may befall Huck. Readers are likely crossing their fingers and knocking on wood that this benevolent creature remain unscathed by the world around him.

In only a single short issue, readers are provided a slew of information, both through the script as well as the art. Action Lab has produced a number of books that have a great appeal to younger audiences without ignoring adults andI, Mage is yet another publication to add to that list. With a rather rich new universe and well-established characters, this book has a lot to enjoy.

Infinity: the Hunt is to be a four issue miniseries. Spending one quarter of this series just introducing the characters is a giant misstep. Though there looks to be a giant cast of characters in varying degrees of familiarity, Kindt wastes the first issue with this information. A confident writer with a well written story can communicate this information to the audience through the story. Looking at an example like Dennis Hopeless' Avengers Arena, readers were presented with a large cast, but never needed an entire issue listing out their origins and skill sets. It will be hard to convince the audience to return for the remaining issues.

Injection #3 certainly begins to clue readers in on some broader elements of the series. At the same time, Ellis continues his ability to release only a bit. After three issues, it is somewhat maddening to consider just how he has been able to make a story so engaging while revealing so little. But, with such talent at each level of the series, Injection is showing no signs of wavering from excellence.

Its a notable issue for the series, and as much as it marks a conclusion to a piece of the puzzle, it also makes clear how much things are just beginning. While the talent behind the book need to do very little in order to garner attention when working together on a project, it is quite obvious that no one here is resting on their laurels. Instead, Injection continues to impress with each and every page turn. It may still be unclear just where this narrative may be headed, but after this opening arc, it is sure to be a wonderful ride.

Injection #6 returns to an incredibly rich universe through brand new eyes and only improves upon its excellent first arc. With some very interesting artistic choices, showcasing how Vivek perceives his surroundings, along with some truly stunning panels detailing his past, Injection has proven that it can continue to raise the bar and subsequently deliver.

There are two Tuesdays left before NetherRealm Studios‘ release of the console game on April 16th. As the sides are starting to become clearer, there still remains many unknowns related to how this world will transition into the global dictatorship that was teased in the first pages of the series.

Mike S. Miller returns to art duties on this issue and does a wonderful job adding life and energy to this story. The anger can be felt in Clark's speech through his depiction. Even the imagery of the actions he would undergo to prove a point have an aesthetic that feels grand. Though the coloring has looked good, handled again by David Lopez, when it is paired with Miller, has a visual appeal that rises above the previous entry. Injustice may not be in continuity but this is one of the most entertaining stories coming out of DC right now. Thankfully, with its weekly release schedule, readers will not have to wait long before the next chapter.

An effective entry into the ongoing story ofInjustice, issue thirteen is a solid read, even for those not actively picking up the title. Though it appears each week that Taylor has written his best issue, he tops himself the next. Can readers be so lucky to see this upward trend continue?

Issue fourteen feels like more setup than story. Though the writing is still strong, and a few interactions still draw on some of those intriguing debates, they are done to a lesser extent. Instead, the main focus of the tale surrounds the opening and closing of the book, the rest bringing us to that future climax. Taylor has done this before, but had more in the issue's B-plot to carry through. Here, however, it just feels like the prologue to what lies ahead next week.

Tom Taylor is handling the task of creating a believable tale to inform the game incredibly well. He hasmaintained a real focus rather than falling back on cheap thrills and hyper violence. Never has the series lost sight of its voices, the same of which cannot be said for many of the current in-continuity stories from the publisher. Tom Derenick's art continues to move the story along without any real flair. Regardless, Injustice #15 is another strong entry for the title.

It is hard to tell if this conclusion feels a bit flat due to recent events regarding in-continuity Batman books. Regardless, the violence in this issue and some story missteps come at a price, and the 16th installment of Injustice lowers it's standards a bit.

Tom Taylor attempts to bring the focus to a small scale, drawing on the personal relationships these characters have all had with each other. After the devastation of last issue, he tries to further the emotional impact by playing up this story in issue 17. While it is possible that on some level Superman regrets his decisions, which has even been hinted at during this series, the events here feel misplaced. Yardin's pencils, as well, are incredibly inconsistent. As previously mentioned, he does bring some expression, but more often are there panels with strange distortions and odd facial features, most egregiously the panel of Bruce in rage. A second consecutive misfire for the juggernaut digital comic.

Kevin Maguire's penciling with Rosemary Cheetham on colors bring about an appropriate visual change to match the issues shift in focus. Similar to the Flash chapter, the story continues to move forward while also taking a minute to look around at what is transpiring. It does not get in its own way, but keeps things feeling fresh. It will be interesting to see whether or not it is the teams being formed in response to the Justice League or the wavering allegiance of its own members that will become the real threat to their efforts. Without a doubt, the creative team headed by Taylor for this chapter have turned out a solid issue.

The story continues to impress, and the main storyline calls in more questions both with the intents of Batman's strike force as well as Luthor's campaign to bring in more soldiers. Even though the script felt a bit disjointed this issue, and the art has its drawbacks, regular readers have no reason to miss this issue of Injustice: Gods Among Us.

Miller provides the most satisfying art for the title. Though there still exist problems in how he renders the faces and facial expressions of the characters, the book looks strongest under him. Taylor, again, has kept readers on their toes, quickly introducing another element into the game here. While there are many interesting pieces already in place, Taylor does not take away from the overall story with the inclusion of this new player. What will come next, yet again, is unclear. However, Injustice excels once more.

Readers may not have had a reason to pay much mind to Iron Patriot before, but Kot and Brown do a good job of changing that.

Overall, The Island, like many anthologies, is likely to offer something to most readers. Using the creators involved as a guide, this publication is unlikely to disappoint. Graham's idea for this type of book, the talent he has employed for it, and the structure offer some promise for exciting and intriguing ideas on a monthly basis. The fragmented narrative that can be problematic for some readers when trying to follow ongoing tales in such a publication may take some adjusting. Still, The Island is likely to offer some great bits of uninhibited creativity on a monthly basis.

With a curious premise and a decent ending teaser, it will certainly be fun to follow this series as it progresses.

The world that has been created so far is really quite fun. While the plot progression has been rather simplistic thus far, Fialkovs script and the art talents of Chang and Maiolo really deliver a quality story. The costuming and choices for characters like Queen or even her high-tech bear guards all fascinate so greatly about the state of the world and how these things came to be. The creators have managed to make this very strange universe feel natural and lived-in and in these two issues, they have certainly delivered.

As the third chapter concludes, the decision to make things right may no longer be one that Joe is able to make. Is he putting Frank in jeopardy by dragging him into this situation both with work and the owners of the dog? And just how much longer is he going to have Frank tagging along with him before the man decides to detach from this bizarre individual? This issue is not as meaty as the first two, but it does continue to deliver an interesting story likely to pervade the thoughts of the reader in idle moments.

It seems as though the ends, here, will not satisfy Joe's motivations. As such, though things seem to be moving towards the goal Joe desired, the road that led him there was out of his hands. If the final panels of Kinski #4 give any indication, this story is not quite over. Possibly at his lowest yet, readers will likely be very anxious to see what is to come.

All bets are off when Klaus picks up his woodwind instrument and decides that playing a tune will be the thing to take his mind off the villagers and their present plight. Suddenly, the book feels like something readers might expect from Morrison. Magical beings appear and Mora fills the pages in fascinating and dizzying colors. The sequence is abrupt and mesmerizing and engaging enough to draw skeptical readers in for what may come next month. While it remains to be seen just how this will all lead to the recognizable figure people know today, the caliber of art and impressive ending are certainly enough to come back for issue #2.

There is definitely a specific audience for this type of book. For those individuals, this title appears to be a lot of fun. For those not sold but such a premise, there is little else here. Wilson's art is suitable, and similarly the colors are fine, albeit a bit flat. The books best page is a pinup that follows the first chapter, featuring a very interesting design that captures the heart of the title. The first issue of “Knuckleheads” is eleven pages of story with some back-matter that won't even cost it's readers a buck. Detailed in its afterword as being the first of twelve parts, this may be a fun title, though it remains to be seen if Winkeler has more to offer than is presented in the opening chapter.

The conclusion of the Lady Killer #2 may be a bit telegraphed in how it is framed all along. There is a bit of transparency to what is coming in the final page turn. This, though, is barely a critique as the creative team has already proven that expectations don't actually undermine a well-crafted issue and that excellent talent does not need to rely on shock to engage the reader. Instead, the skills on display are all the convincing that a reader needs to settle in with this mini from Dark Horse Comics and hope that this is merely just the beginning.

The final act of the issue is exhilarating. Josie arrives on the scene of her assignment and the book builds tension over a few pages before erupting into an impressive action sequence. Josie lunges through the house, and the script leaves the dialogue aside and lets the story flow through the art. It is a sequence that is equal parts beautiful and harrowing as the woman and child run through the home. The book definitely does not head in the direction expected, and with only a few issues to go, it will be exciting to see just how much the creators can pack into the next few chapters. If the book is able to maintain the quality it has set for itself in these first few issues, this series will be high on people's lists for the year.

Lady Killer #4 is another amazing chapter in what is quickly becoming the leading contender for best mini-series this year. Though one action sequence seems a bit short, the issue is otherwise page after page of top-notch story and art. There is only one issue left in this story, and there is absolutely no reason for anyone reading comics to be in the dark when it comes to Lady Killer. The conclusion drops in just thirty days, and it is sure to be fantastic.

An excellent mini series from all levels of development and production, Lady Killer is one of the strongest books out this year. Filled with talent and a thrilling story, this is one people should be passing out to fellow readers to build up the audience awaiting the next tale.

On the whole, Lantern City has some familiar elements with a solid amount of originality within. Jenkins and Daley have crafted a new universe that could lead to a great tale of uprising. Despite its bumps, the book has the potential to be a good series.

Ultimately, the basic plot of this first issue is rather straight forward. With some entertaining twists and oddities, and kinetic art from Wijngaard, Limbo #1 is certainly a solid first chapter. Watters is able to drop in just enough mysteries here to get the audience to bite for a second chapter. Hopefully the world develops even more next time, giving the audience an idea of where this new book might be heading.

There is so much to enjoy in Little Nemo: Return to Slumberland. Shanower's adventure is pure and entertaining and written for all readers. While being so all-encompassing, he also provides enough space for the artists to bring every detail to life. The issues warrant countless rereads, and no doubt those who do pick up the book will have an endless amount to discover in each and every page. It is fantastic to see the attention that has been given to such a wonderful property recently. Even more so, the attention and care that these creators have given to their story goes beyond what fans and new readers could have expected.

What is most surprising in Little Nemo #3 is where the adventure leads the two characters. Beyond the Tower, the story takes a turn that includes some new creatures and some interesting subtle elements that hint at the larger universe beyond the kingdom. Not only that, but the suddenness of how this trip into Slumberland concludes is surprising, especially in its implication. It does not betray the spirit of the series, and it directly aligns with how dreams can sometimes end. With the acknowledgment that the next issue is the last in this chapter, there is a bitter-sweet sensation lingering. Such a sensation only occurs with a book so clearly created with immense care and love for the material.

With this the final issue of the mini, Shanower manages to include some elements of what is to come next. The creators acknowledge their intentions to return soon with more stories. After such a phenomenally successful opening mini, there is no question that there is an audience anxiously awaiting that next release. For now, the depth of this world leaves enough in re-reads to hold everyone over. A strong finish to an excellent book, Return to Slumberland is a must for nearly any reader or individual with a fondness for imagination.

For fans of the character, seeing him pop up on the racks is always a welcome sight. Getting new material from this team of writers and artists is almost assuredly a book worth picking up. With A Chain Forged in Life, there is not a whole lot of excitement beyond that. While the writing is sound and the art is equally so, the issue certainly lacks a spark or moment of originality. So, while it is nice to spend some time in this world, the enjoyment of this reads lies mostly in that reaction.

Yet again, Remender launches a title that is rather impressive. With so much teased and a great cliffhanger ending it is going to be a long 30 days.

As the girls make their way back to camp, readers are introduced to a few more characters as well as the likely trajectory of this book. Lumberjanes provides distinct voices for each character, some good teases for things to come, and strong art. It is a good bit of fun, this first issue, and the creative team seem to be having a blast making it. No doubt, this colorful group will see their fair share of adventures, and they have enough personality to take readers along with them.

Lumberjanes #2 is a real treat and acts as a convincing argument in favor of this new series. The book accomplishes exactly what it sets out to and manages to produce a number of laughs along the way.

Brooke Allen and Maarta Laiho's cover to the third issue is a good bit of fun. The image of the cabin mates sitting around after hours telling stories has little to do with the events of this issue, but it is a familiar scene to any individual that has been through overnight camps. There is a fondness that it exudes and it is one that Noelle Stevenson and Grace Ellis capture just as well in the camaraderie of the girls throughout this issue. Once again,Lumberjanes is a real treat.

The series as a whole has a lot going for it. The creative team continues to put some great moments into each chapter and tease out the truly bizarre features of the woods surrounding the camp grounds. This issue does dive a bit more into a seemingly ongoing mystery about the grounds and readers have some more villains about which to be worried. There are a few rough moments in this issue with the art and a bit of dialogue. Additionally, while played for comedy, a new group of characters are written in a way that utilizes some stereotypes that work against the story. Lumberjanes continues to be an entertaining series, and despite some problems this time, should stay on readers' pull lists.

One of the books biggest problems is that it does feel long. Boasting over 30 pages in each of its first two issues, the problem isn't in its value, but in its pacing. So much is covered in each of these issues, that after 30 pages, the reader may begin to wonder how many pages are left. The title's individual issues feel like an entire serial, and in that regard, the decision is most likely intentional. However, modern comic book readers may feel fatigue setting in before they reach each chapter's conclusion.

While it remains unclear if there will be more stories produced for this medium, Taylor assures readers of a Panda and Squirrel story backlog in different formats. If there is to be no more, let's hope these two find their way into other comic book properties. Unquestionably, they are both talents to watch.

Masks is unbelievably impressive as a series. Each chapter solidifies the story further into being an absolute must read for fans, simply, of good story telling. This book deserves a large audience and with the push to print some of these Monkeybrain titles, hopefully this will find an even bigger readership. If you have not read the story so far, this issue does a good job of catching readers up to what has come before. For the price, though, catching up is highly suggested. This is undoubtedly the best crime book currently being published!

Williamson continues to generate chapter after chapter of impeccable suspense and story all hinging on one moment. So far not a single chapter has felt slow or drawn out, but never has strayed too far or exaggerated to hold the interest of the audience. Eight issues in and Masks has remained small in scope but never at the risk of losing its appeal. Ryan Cody takes on art this time and he manages to capture the heart of the book, even playing with some elements to fit the moments perfectly but never betraying the visual tone this title has taken on. Masks & Mobsters #8 is another must buy!

The continued theme running through this story has been the two sides and their slow movement towards a full war. It has kept the scope very small and taken its time to develop this feud. Now it appears that even rivalries are emerging within the mob. As such, the inclusion of this new species and its own thirst for vengeance seems unnecessary. Additionally, it shifts away from the street-level crime story more so than anything that the series has included so far. While it may fit into the world perfectly, right now it feels like a misstep.

Masks is definitely making a definitive choice about where the series is headed. At this point, readers will need to strap in or look for the exit. For those sticking with it, this city is heading towards a war of truly epic proportions, and Williamson is bound to deliver in grand fashion.

Harveys visual style is rather unique. Not only does Harvey have a distinct voice in how he renders his characters, but also the books format itself is a step away from the traditional comic book from a hand-lettered panel depicting an email to the panel layouts and the varying art techniques. At times the book looks very modern, and other panels borrow from pop art. What is most impressive is how effortlessly it appears to work. Harveys choices, when looked at individually, sound as though they could challenge and turn readers away. But when it all comes together, Masterplasty is a fantastic debut.

The issue flows, as a result, from panel to panel as this creative team impresses yet again. It may still be unclear what story they are crafting in the universe, but after three issues the quality of what is on the page is more than enough justification for people to be following along.

Moth City is an experience. It finds ways to feel fresh while adopting a very classic story structure. Gibson understands how to script a tale to expand and develop naturally so characters do not merely adopt a dimension simply to reframe previous events. Instead, each person evolves and aspects of their personality are unveiled through circumstance. The mechanical difference is subtle, but the impact is massive and the awareness an author must have to be able to accomplish this is rare.

Gibson speaks of kingdoms both in the physical sense as well as allegorical. McCaw attempted to create something for himself and when it was taken away, with no way to stop it from crumbling, he lost himself and all he had worked for. There are so many iconic moments in this issue, so many stark panels. In the story's conclusion, Gibson returns to the opening line about the men who push boundaries and it begins to seem cyclical until it follows with a line that contradicts. In the story's opening, the line brings with it a sense of future thinking and optimism. Here though, the persistence for forging a new path is not one born out of the pursuit of a bright future, but out of leaving behind a failed past. At the end, the man trudges forward not with the sun on his face, moving towards promise. Instead, he flees, his face dirtied and a darkness trailing. The Reservoir proves that the bar Gibson set previously was merely a baseline.

The final page teaser, which connects to the first cut-away in the issue, is an interesting one, if not a bit confusing as well. While Tobin has certainly given readers a lot to love in this opening chapter, the last pieces provide as much intrigue as they do befuddlement. Still, Mystery Girl #1 is a successful introduction presenting plenty, and offering much more to come.

Neverboy is a unique new story from Simon and Jenkins. The experience of reading through issue one is incredibly exciting. With the reveal at the end of issue one, the tone and approach of future issues will certainly utilize less of a shrouded method. It will be interesting to see how the book continues and what type of world this is that the creators have made. Regardless, this first issue is so impressively crafted that it is worth reading through on its own.

Even though there is a bit of a stall in the momentum of the issue as Vanessa and Neverboy do a bit too much explaining, the second issue is still incredibly captivating. There are so many possibilities for what could come next in this story. Simon has a supremely unique tale on his hands, and with Jenkins and Fitzpatrick, Neverboy is absolutely a story to watch.

Simon is exploring some seriously dark and unsettling territory in the pages of Neverboy. Somehow, the creators of this series have managed to create a story that explores the imagination and idealized realities that people have and show just how dark, isolating and tragic they can be. With excellent talent, Neverboy is surely a series to watch.

Thought the direction may be clearer, the end game is certainly still rather opaque. With Neverboy motivated and the consequences of his and Julians actions spilling out into the world, the energy level behind the overall story is certainly rising. Simons sequence placing Neverboy back in front of Sams mother and the exchange that follows has a really impressive quality in its emotional core. As Jenkins and Fitzpatrick continue to find that perfect line between abstraction and the concrete to display imagination without unraveling the story, Neverboy brings a great issue that will certainly make readers excited for issue 5.

Neverboy has managed to be an amazing breath of fresh air in comics. The story is fascinating at each level of creativity, and every issue has been impressive. This chapter certainly ends with a darkness hanging over it, but the central sequence of the issue will continue to resonate long after the last pages are turned.

The final pages of this series come as a tasteful nod to fairy tales and the world of imaginative stories. As the resolution has passed, Simon has just a bit more to tell. The epilogue of Neverboy is heart-warming and beautiful. Fitzpatricks colors have been mesmerizing throughout the series, but the vibrancy of her color palette shines especially here as the backgrounds swirl behind the leads in the books final moments. Neverboy is certainly a strange concept for a book, a unique depiction of imagination with some commentary on the human experience along the way. With a compilation of fantastic talent across the board, Neverboy #6 is a fitting conclusion to a wonderful series.

Nightcrawler may be a fan favorite, and Claremont may be the best writer in X-Men history, but this first issue is mediocre at best. Hopefully the story takes shape in the coming issues and fans have more to look forward to. For now,Nightcrawler makes for some brief moments of fun without much of a lasting impression.

Nowhere Men is a very complex series. For ongoing and new readers, jumping into this arc might be a bit challenging and therefore a return to the first arc is likely necessary to keep all of the pieces straight. That said, issue #7 is a welcome return and feels as strong as the issues before it.

As previously mentioned, the first two chapters of Oddly Normal have focused mostly on its primary characters and striking a tone and pace with its readers. Frampton's writing is filled with energy and his choice to keep the panel-to-page ration down, allows the reader to move through the chapters incredibly quickly. For children and families, the story of Oddly Normal is a solid read and looks to offer a great new universe and fun stories issue to issue.

As an opening chapter, Ody-C is a good introduction to a new world, but it doesnt completely succeed. While Fraction does a decent job adapting the elements of the original tale for this new setting, it is unclear just what he has to say in doing so. The first issue presents readers with a world, but fails to give it purpose. There appears to be a deep and distinct plan for the adaptation beyond the curious reworking of names and roles. Hopefully the rich character of Odyssia, matched with Wards work will move to incorporate a story that better justifies this exercise. For now, check out issue one, especially in print, and prepare for what lies ahead

The events that take place from the time that Killstrike comes to Jared's home through to the end of the book are what makes the first chapter of this new series so enjoyable. While it takes a bit of time to get going, Killstrike eventually hits stride. Bemis has created a book that looks to poke fun at a past decade in the comic book industry. But his approach and tone are not heavy-handed or overly critical. Instead, the light-hearted satire winds up being more fun than expected. With Jared and Killstrike setting off for New York City in an attempt to help the character fulfill his required mission for vengeance, the story looks to only get more ridiculous and more entertaining next month.

The book continues to drop clever pieces that range from somewhat opaque references to comic history to much more on-the-nose moments. It is impressive to see just how functional the story remains to be for readers with a limited or casual knowledge of comic book history, while offering a few extra laughs for those who have a little more under their belt. Its likely that the premise and approach to Oh,Killstrike will not engage all types of readers, but that is not indicative of the caliber of craft behind the title. In fact, with only an issue left, many readers will be rather hopeful that there may be future stories for these characters. That, on its own, is evidence of a well made title.

What started out as a nice bit of fun being poked at the comic book industry turned out to be an incredibly impressive and well-balanced commentary that brought the reader through the same journey as Jared faced himself.

There is certainly a sharp turn taken in the last act of Paper Girls #1. With a strong character center, the book heads off in a direction that is somewhat opaque. Though it remains to be seen just what the final moments mean, the creators have so much quality in their approach to world building and character development that even the most skeptical of readers should likely need to see what comes next.

As the group ventures towards Macks house in search of safety and protection, they face a situation that they and the reader wont quite expect. The creators continue to drop in small teases about the universe and these events, each one pulling the reader in just a bit more. With such fantastic attention and care, the book reaches an ending that is brutal and affecting. After just two issues, this team has a grasp on their universe and characters that would be expected from a series much further along. With that in mind, there is so much promise for where this story will go next.

Though the overall story moves only slightly forward in this fourth issue, there are still some solid pieces with the issue. Vaughns writing is always appreciated, and even in the smallest moments, his craft makes a difference. With excellent art throughout the series and yet another strong teaser ending, Paper Girls #4 is well worth the read.

There is a lot of promise for this new series. In a list of story elements, Parallel Man sounds like a must read. In execution, the first issue falls short of what it sets out to be. Hopefully as the series progresses, the creative team can smooth out some of these initial bumps.

Once Penny invites her friend, Elizabeth, over to hang out and share with her the items she received on Christmas day, the tension and anticipation for what may be in this mystery box rises. Penny, having opened the unmarked package to find an old, and empty, wooden chest, attempts to hide the box. Having been instructed to discard it, as it was likely junk, Penny soon discovers the box has a lot more to it. When Elizabeth finds the box and attempts to open it, the following pages of Penny frantically trying to stop this action and separate Elizabeth from the box are well crafted. Stock's writing and the art to go with it make for a great series of panels in the first issue. While the conclusion of the first issue is one that is mostly comedy, the creative team behind Penny Dora have teased the series well enough in its opening chapter. It is certainly going to be fun to see what lies ahead.

Penny Dora and the Wishing Box has been an absolute treat to follow. For a story based around a magical box that can make all things possible, Stock has managed to keep a very firm foot on the ground. He has made his characters relatable and the dilemmas real. It is only in the final moments of this third issue that the story really begins to show just how quickly the box can change everything. Added to that the tease of a mystery woman, and the story proves its control and pace. With lovely art and great characters, Penny Dora is certainly a series to be following.

Similar to the final page reveal that had such great resonance with the reader last issue, the book ends in an intriguing way that is sure to have readers wishing for more. Lemire continues to treat his audience to a snippet of his art as he seeds in more about Plutona's fate at the end. There is little more to ask of the creators of Plutona after these two issues except that the book continue to match the quality thus far.

With another dark ending and much uncertainty, Plutona is beautifully captivating. It is a series that almost needs no story for how well crafted and engaging the creators have made their characters and universe. Still, it is all the more delightful to have the mystery of Plutona running behind it all. With so much to love about the series, the next issue is certainly anticipated highly.

It will be interesting to learn more about the series and the characters as the story progresses. Moreci and Seeley definitely have made some interesting choices right from the start. Currently it is not quite clear why the team is made to be primates. While anthropomorphizing is not new, it usually serves a purpose. Additionally, the era that the book evokes through its art and plot structure also feels incredibly deliberate. All of that is to say that Prime-8s #1 has a lot to offer and packs in a good bit of intrigue both for the direct plot as well as the pieces lying just beneath the surface.

rime-8s in just two issues, has given readers a lot of intrigue, an arch-enemy and enough entertainment to hold readers over even if it is a little bit until the next chapter.

Princeless: The Pirate Princess is the continuation of a previous Free Comic Book Day issue, one that many did not expect to see again. Fortunately, Whitley has brought the tale back with this mini, and it looks to be a blast. Pirate Princess is absolutely a great book for young readers. The art style and story structure are certainly entertaining for adults as well, but the book does feel more directed at children than an all-ages audience. Either way, Whitley continues to produce solid stories within the universe and proving time and again how strong female characters can exist, should exist, and are just as awesome as their male counterparts.

It is important to recognize that, as much as this book is informal and unapologetic, that it is not without an intelligent approach. Sure, anyone can cut together images and throw crude dialogue on the page and call it a rebellious publication. Likely though, it isnt going to work as well as this does. Punks: The Comic is a great return to the books origins and, for new readers, an introduction into a hilarious and rude world.

Fialkov and Chamberlain are a perfect match for this book. The humor, crass writing, character designs and overall construction of the book is unwavering in its vision. The book is rather specific in its aims and if it were to falter in any aspect of its design, it would not work. Fortunately, the creative team behind Punks have managed to create a product that does exactly what it aims to do. For something that is meant to appear as slapped together and silly as what two high school friends might create using magazines and insane writing, Fialkov and Chamberlain certainly are working hard to push the envelope and maintain a distinct voice. Punks, for the right audience, will be a top-of-the-pile series for as long as it remains in publication, and rightly so.

Ending in a way that is just as unexpected as everything that precedes it, the creative team recycles moments of an earlier era of the series and it has a whole different level of entertainment considering where those involved are today. In some ways, it is rather surprising, even with the knowledge of what Punks strives to be, that this would have been reprinted. While there may truly be only one Highlander, there is certainly only one Punks and it is fantastic.

As the issue comes to a close, the creators leave the reader with a lingering sense of frustration. The final page of Rebels #7 is a magnificent one that requires no explosive exchanges or extravagant art to be affecting. It encapsulates the approach that the team has taken to tell this story, letting it speak for itself rather than providing any commentary within it. With so much care put into every aspect of the issue, it is no wonder that the final product is this impressive.

An incredibly subtle, but fascinating aspect to Roche Limit is the window of history left open. As is explained in the opening monologue, and further in the issue's back matter, the colony was established two years before this story. What was supposed to be a center for the most intelligent and curious minds became something entirely different. Despite the story moving forward, Moreci has created a very intriguing thread by leaving this hole. Additionally, he touches on a very curious philosophical discussion about human nature. Given the freedom to explore the universe from space itself, human beings found themselves closer to their animal roots than reaching a new level in the advancement of intelligence. Putting these concepts together with the thrust of the major plot elements, Roche Limit #1 is very satisfying.

The most intriguing elements of Roche Limit thus far are the actions and intentions of the scientist that has been shown and referenced. The man with the limp seems to be plotting something, but Moreci has given little acknowledgment as to what that might be. Though it is still early on in the series, this issue takes too long on its other sequences, leaving little time for its most engaging plot.

Just as it occurs many times within each issue, Moreci ends the fourth chapter of Roche Limit on a cliffhanger. Even though it looks like things are coming together, the lead characters find themselves facing jeopardy while, elsewhere, Moscow looks to take apart the entire population. The stakes continue to climb as the series pushes forward.

As Roche Limit #5 concludes, the ending is bittersweet. In many ways, the final moments between the leads and the adrenaline induced events of the final surge all deliver. But the lingering questions about these other elements begin to seep back in. It is only as a result of the series having so many great ideas and mysteries that this feeling comes about. It is to the credit of Moreci, Malhotra and Boyd that readers want even more from them. With the knowledge that a new arc lays ahead and a definitive end has already been established, it may be possible that some of these questions get answers in the future.

As previously mentioned, the story thus far through issue #2 does not quite give away what is to be expected going forward. Thats not terribly surprising as Morecis development of the first arc had very similar technique. For now, the story telling, world building, and suspense present in each of the issues maintain quite enough intrigue to keep things engaging. Moreci uses back matter to fill out the world building even more and slowly readers are beginning to get a picture of the larger world. Charles and Battaglia have fit into the world of Roche Limit rather well and their additions to the story are a major factor in the effectiveness so far.

There is no question that the second volume of Roche Limit is quite different from the first. That being said, the continued universe and spirit of the series definitely is present across the two arcs. With incredible back matter that is hardly back matter at all and in fact quite relevant to the stories, each issue has been filled with content and quality and this fourth issue is no different.

Roche Limit: Clandestiny ends with a very strange reveal. This entire arc has been very interesting and very dark, dealing with human emotion, desire, and ideation mixed with savagery and violence. Charless art has been a great fit, and Battaglia has brought a color palette to give the whole thing a fantastic sensation. In the final pages, even more mysteries arise and, with a teaser final page giving a glimpse at what comes next, the creators leave readers with a lot to swallow and much to look forward to.

With a curious cast and a very interesting premise, the opening of Rocket Salvage is a good bit of fun. Issue one is just a tease of what lies ahead as Mercado spends more time allowing the characters and city to breath than on getting plot on the page. But with enough pieces, it makes for a very solid beginning.

World building can take shape in a lot of different ways. Narration, expository dialogue, slow discovery are all options for introducing readers to a world and set of rules they do not yet know. Arcudi and Harren have made all of those feel dull as a result of the story telling choices made in the first two issues of Rumble. In a lot of ways, that makes the events of the issue difficult to discuss. Rumble is a book that simple needs to be read. Arcadia is a fantastic creator who has had fantastic stories alongside great creators in the Mignolaverse. James Harren has similarly created some excellent work in recent year, and Dave Stewart is one of the best colorists in comics. Each name has become its own argument to checking out a book, and here they are together. From pacing, to panel lay outs, to color choices and the overall tone of the story, Rumble is simply fantastic. Dive in.

With an excellent choice in how to set up the clash between Rathraq and the Esu, the creative team behind Rumble have wrapped up their first arc and set up the story to come. While most readers would have expected the meeting to go south, the choices that the creators make, and how these decisions impact or further explore the personalities of the main characters, only improve the world that is being built and the anticipation for the second arc. It may be a few months before readers are able to get a new issue of Rumble, but it is plenty of time to share this fantastic new story with as many people as possible. Rumble is absolutely a contender for one of the best books this year.

The sixth issue of the series, and the introduction to the second arc may not be the exciting next step that readers may have expected after leaving the characters at the end of the first arc. However, Rumble #6 is not only a very well made chapter, but it also functions as a great jumping on point for anyone not currently reading the series. An excellent balance of regrouping and looking forward, this is certainly worth picking up.

There is something to which the creators are building and with a very curious opening to the new arc, readers will be settling in for an undoubtedly excellent new chapter in Rumble.

Rumble continues to be a book that feels incapable of taking a step backwards. Even though this second arc has a very different approach and tone than did the first, the story is still compelling. As the book pushes forward, readers will be left to wonder just how these pieces are going to come together. But just as the conclusion of the issue leaves some pieces out, the entire arc has kept readers just enough in the dark to make the eventual payoff all the more sweet. For now, readers will just have the impeccable art and excellent script to hold them over.

In the final pages, readers see Rathraq return to form as he has been mended a bit. With the straw-man engaging in battle once more, the story finds its other characters scattered about, each facing different conflicts. While some issues that precede the end of an arc can feel a bit more focused on the function of placing the pieces simply for the next chapter, the creators are able to accomplish the same goal in a much more natural and compelling fashion here. As such, Rumble #9 is yet another thoroughly enjoyable and impeccably crafted issue.

Ultimately, the final moments of the issue bring both a serious thrill and disappointment. The midway point of the story is also the breaking point in the release schedule for the book. RunLoveKill #4 has shown no sense of wavering in the skill and care taken on these first four chapters. So, while it is hard to have to wait for the next issue, it is only so because of the high quality of this arc. Readers will likely be eagerly awaiting the second half of the series.

There are some curiosities in this issue as it has Kamala written and drawn outside of her native series, and the characters of the Marvel television series depicted by other creators. As a result, not all elements align and one moment where Coulson suggests that sacrifices, even high-schoolers, may need to be made, feels awfully strange. Fortunately, the book-endings of the second issue of S.H.I.E.L.D. are great. The opening moments dealing with Jemma's double life and how that echoes to the young hero in Kamala feature great character work. Readers are left to reflect on the lonely life this creates for the individuals and it is a consideration few writers bring to the forefront in this big action stories. Waid finds time to not only carry out the A-plot, but work in some great development for Jemma and Kamala as well, making the issue a solid production.

‘Unconventional' is definitely a word that can describe the story of Hank and his journey to becoming the hero his mother believes he can be. After two chapters, The Shadow Hero has hit stride and there is no question that this book is a gem. Yang and Liew make for a fantastic pair and they certainly have an interesting story to tell about the first Asian-American caped crusader. Will Hank get superpowers, an arch nemesis? Will he become the symbol the city looks to for hope and justice? Whatever the case, Yang and Liew have ensured that the journey will be unique and well worth experiencing.

The third chapter of the story is the best blend of the different aspects Yang has put to page so far. It has some great comedic beats, including a fantastically subtle scene of Hank, in costume; take the bus uptown to face his nemesis. Liews art plays the scene straight, and it is a greatcomplement to the absurdity of this action. But its historical elements and Hanks desire for a heros path take shape in a way that is impressively impactful.The Shadow Herohas so much to offer in both script and art. Yang and Liew continue to impress and the third chapter raises the bar.

As the issue comes to a close, Liew places Hank staring up at a massive building, with his nemesis waiting somewhere inside. It simultaneously triggers memories of the great old arcade games, where one must fight level by level to reach the boss as well as the symbolic nature of the scale of the evils he has chosen to take on. As such, it makes for a solid ending to this pivotal chapter in the series and a great tease for what is to come.

The remainder of issue #5 continues with the same light tone amidst a lot of well-scripted and drawn fight scenes. From the name of the head henchmen, to the fallout from Hank's attempted kidnapping of Ten Grand, issue five is evidence of how great a pairing this creative team really is. The issue throws in a pretty solid twist near its end and it throws things up in the air once again as the series is nearing its final act. After five chapters, The Shadow Hero has yet to disappoint.

While the experience of reading this tale in chapters over several months mirrors that of the general comic book publication pace, the story is being released to the public as one completed graphic novel. As such, it will be curious to see how readers who consume the story as one completed work will view it by comparison. Either way, the craft of both creators is well displayed in this publication and The Shadow Hero is worthy of the audience for which it aims.

Evely and colorist Daniela Miwa do a solid job of maintaining the visual appeal of the story. The setting is never too polished, but the images are well detailed. Miwa's coloring choices both in the hues used as well as the texture that can almost seem tangible in how it is employed certainly establish a distinct era. But the effectiveness of the second issue and the story as a whole are a credit to the writing craft of David Walker. Though there seems to be a missed opportunity in further exploring the story line that was presented in the first opportunity, Walker brings the second issue to a close in a way that rights the ship. It might not be the unknown origin of Shaft that readers never knew they wanted, but it is possible that in telling a larger story that moves beyond that limited space, Walker and Evely will be able to craft a book titled Shaft that does even more.

Suddenly, Shaft has transitioned. After masterfully reworking the character and the setting in the first few issues, Walker has set the lead on a path that seems tragically inevitable. As this issue comes to a close, Shaft begins to share similarities with Frank Castle. And while Walker has a definite sense of restraint in his writing, the crafting of the issue heads towards a more classic story type by its end. Walkers story telling over these four issues have earned this direction and made it one that is all the more compelling to witness. Paired with excellent art from Evely and Miwa, Shaft continues to be fantastic each and every issue and readers will definitely be anxiously awaiting the next chapter.

The fifth issue of the Dynamite series looks to set a lot of pieces in place. Not only do readers get a lot more information about some of the characters in the story, Walker spends time explaining about the real story behind all of this and it goes much further and much higher than anyone was thinking. Evely and Miwa continue to do fantastic work in setting a tone for each sequence and environment in excellent, yet subtle ways. No doubt, with the type of closing page that rounds out issue five of Shaft, readers are due for some real excitement next time.

The further Sheltered progresses, the more factions emerge amongst the cast. It is unclear who will come out of this skirmish and what will become of those left. What is certain is that the scripts and art of the story look to only get better. And even though with each issue readers are put through brutal tension, like any true horror story, they will keep returning eagerly to see it through.

Sheltered #8 is mostly a between-peaks issue. Tension lingers and readers are left to wait until next month to see where the events of this issue will bring the cast. Nonetheless, chapter eight of Sheltered is as well written and drawn as the rest.

If this creative team can maintain this quality for another five issues, then this series is bound to culminate spectacularly.

Sheltered #12 does not feature any massive plot changes or character moments. Even though it features a shift in the story towards its inevitable resolution, the episode feels quieter, preparing for what comes next.

Sheltered has been captivating from the very beginning. The creative team was able to present a tale and hook so engaging that it became impossible to look away. The book has been heading towards a spectacular and violent end since the very start. But along the way, at every step, Christmas, Brisson and Chankhamma have crafted the tale carefully, developed fantastic characters and presented numerous conflicting sequences leaving readers truly uncertain of what to hope for. It has all come crashing down, and now all anyone can do is watch. There is definitely little hope of a happy ending.

Skybreaker feels like it could be a Vertigo series, printed on newspaper stock with a sixty issue run. For readers' sakes, let's hope there is enough story to carry us there, as Moreci and Zucker have established world from the outset that feels ripe with possibilities.

Moreci and Zucker are building a real classic western vengeance tale. Not only does the anti-hero storyline tease the coming revenge, but even amongst the other major cast members there is a building hatred. Not one character in this story seems terribly fond of another, and each seems to have their own definition of right. While tensions rise a bit more in Skybreaker #2, there is no telling just how grand this will all be when the waves comes crashing.

Skybreaker is a series that anyone should be reading. The pieces are moving into place, and this is one story where it looks any character could be caught in the crosshairs of this inevitable war.

Skybreaker continues to be a compelling series as it further elevates the anticipation for the eventual implosion of this town.

The climax of the story of Skybreaker is a long time coming. All the players find themselves in place and Moreci scripts the tale to provide a moment of calm before gunpowder and blood fill the air. Readers may even find themselves pausing with the story to brace for what is to come. Tension releases, readers exhale, and it makes for a satisfying conclusion. Could there be more? Do Moreci and Zucker have another tale to tell in this well crafted universe? The real question is: could we be so lucky?

Designchoices such as these, and the overall premise of this story make for a rather impressive beginning. Billy Ruffins may not be as unlike his father as he thought, and it would seem that everyone has their secrets. Masters and Jenkins certainly have struck a chord with the first issue of Snow Blind.

This story speaks to the culture of the south. It is an intimate setting of small towns where everyone knows everyone. More importantly, everyone knows everyone's secrets. Southern Bastards looks to showcase a world where the rules work a bit differently and violence is always waiting.

The story comes to an ending that readers will despise and simultaneously love. This is good writing. From a mile away, Aaron telegraphs what is bound to happen in the final moments of this issue as Esaw and his boys are sent to be rid of the distraction. Latour continues to shape this entire world in a way that feels slightly broken, decaying. There is very little to admire in the way of conventional beauty in this book. Scenes like the empty room at Boss BBQ and the deep shadows that stretch across the final panels all strike an emotion that remains consistent with the script. Aaron and Latour, as a team, deliver a great, unified tone that continues to make this story so successful.

Steven Universe has been a very popular and entertaining show for Cartoon Network. In its opening chapter, its adaptation to comics has not found a way to capture that. With other problems that impact the readability of the issue, the debut issue has some serious troubles. Hopefully the book can right itself and find a way to simplify its storytelling such that readers are better able to follow and enjoy it.

In addition to a solid opening mystery, Allor and Romera have created a series that will surprise audiences with how much more it has to offer.

Strange Nation #2 will fascinate those already on board and is worth tracking down for those who missed the title the first time.

As the first issue wraps up, Lapham reaches a climax that feels like it could be the final part of a six-part story. Instead, the moment is merely the beginning. There is a lot that is unexpected about the construction of Stray Bullets. From the impressive development of the characters to the structure of the storytelling, Sunshine and Roses #1 is magnificent to experience. New readers may not find the book as friendly as Lapham might suggest. But with patience, it is certainly crafted well enough to adopt a new audience. Not only that, but the amount of subtlety infused through Lapham's understated art style and panels make for an even better second read.

Marc Guggenheim, known for his work on CW's Arrow, teams up with Justin Greenwood and Ryan Hill to present an incredibly fast paced story about two guys putting their neck on the line for all the glory. Well, if glory means riding around in a busted old car filming crimes-in-action to leverage to the media for cash, then glory it is. Paul and Nick have certainly chosen and interesting career, and issue one of Stringers is definitely a good start.

Subatomic Party Girls was fun out of the gate and improves with its second issue. There is a lot to enjoy here and the creative team work well to produce another solid issue.

The story takes an unexpected turn in its final act and keeps the reader's engaged in doing so. Sims and Bowers have a bit more control over their pacing and story here, and it makes for the best issue of the series yet. The elements of the conclusion and the introduction of some new characters keep Party Girls feeling fresh and leave readers excited for what is to come. Likewise, Erica Henderson's art continues to be an organic match to the tone of the series. The cover is a really smart use of the item referenced and the rendering of one of the newer characters as well as the final climax of the issue boast some of the most vibrant imagery yet. There is room to grow for the title, but with each issueSubatomic Party Girlsimproves in every aspect.

A bit disjointed in the opening issue, Sundowners has a lot to offer. Terry and Dove do a good job with the pacing and layouts of the story, and have some solid character designs. The tone of the issue, established in the color palette and design, does not feel like a modern crime fighting book, and it adds yet another dimension to the series. While it may not be clear what to expect from the series on the whole just yet, Seeley and Terry have certainly opened quite well.

For readers who have not been following along with this story, the issue really does stand well on its own as a singular story. In a short amount of space, Leth and Little are able to introduce readers to a predicting story, a cast of characters and the stand-alone plot and it all lands. For fans of the issue, or the included properties, this is a great introduction to the larger universe at work as well as some solid talent to follow.

Though the genre of these stories, as well as the anthology-presentation itself typically attract a smaller and more specific audience, Tales to Admonish works because it feels honest. The stories on display here are not ironic or using the air of homage to falsely attract fans of the genre. Instead, Bergen and Kyne do a solid job at offering new chapters into an old style. So while it won't be for everyone, readers who are likely to seek out great pulp and monster stories have a lot to love here and Tales to Admonish really is a great bit of fun.

Templesmiths departure certainly hurts the title. Hopefully Smith can manage to establish his own personality and direction on the series and find his footing. Straczynskis story continues forward in an interesting direction with Joe fighting to hold on to any sense of himself the further he ventures into this new world. Audiences will have to hope that both writer and artist come together a bit more on future issues.

All in all, this first issue of Terminal Hero is a solid one. The title certainly gives indication of where the story is likely to head, but Milligan does well to take readers on a journey before that point. The story of Rory Fletcher looks to be a rough one, and it will certainly be interesting to see it unfold.

In the second issue, Milligan includes a number of plot points that feel as though readers are crashing through the story. In one issue, Milligan moves through a number of phases that Rory faces with his powers and how they are applied. Readers experience some pieces of complications that arise with the powers and are introduced to what feels as though it could be a major aspect of story. Instead, it is resolved in a matter of pages. Before the end, an new direction is established. Milligan certainly has a number of good ideas, but the speed at which the book moves makes them hard to really appreciate. Readers are likely to be interested to see how the ending of Terminal Hero #2 will play out. Hopefully, though, Milligan takes a bit more time with his ideas.

In addition to the well crafted script, Tyson Hesse does a fantastic job in capturing the visual aesthetics of the show. The characters and the general world of Gumball are translated very well to the print comic. Additionally, Hesse is great with the physical gags and visual humor necessary to depict the script such that the entire package works. Put together, The Amazing World of Gumball is a very funny and well made first issue.

The Beauty has more to say than it's elevator pitch, which is incredible as its pitch is fascinating on its own. After just one issue, readers will be clamoring for more. There is no doubt that the creators are planning to take their audience on a thrilling ride. This is absolutely a book to check out.

The Beauty has a premise so simplistic it almost feels underwhelming. But it is that very same simplicity that makes the book so intriguing. Taking that and running with it, the creators of The Beauty make good use of every page in the series, holding the attention of the reader throughout. In keeping with the rest of the issues, this one ends with another moment that will leave people wishing the story wouldnt end. Despite this chapter being a bit more action than mystery, the series presses forward confidently and manages to put forth its best issue yet.

With a wonderful final page, and the threats lurking in the shadows, The Beauty continues to be a strong series.

It will be interesting to see how this series develops. The first issue of The Bunker is a bit on the heavy side both in terms of information and mystery, but taken in stride, this series looks to be fascinating.

Issue two is as strong as the first, but with a totally different approach. Fialkov and Infurnari have given readers a taste of the bigger picture, but are clear that the book is dedicated to the characters first.

Each of the five individuals looks to have very significant roles within the universe that has been created. Unfortunately, this chapter does not quite convince the audience that there is a whole lot to Natasha, and as a result the issue falls a little short. Still the issue is worth reading, and hopefullyThe Bunker will have a bit more to say in its next installment.

The story is not one that shakes the ground. It is simplistic, in some ways, and ends almost as melancholic as it began. For something with such violence, the quiet of the book stands out the most. Kot's narration through Estacado is incredibly poignant in The Darkness: Vicious Traditions. He brings a different lens to the world of fighting wars and national pride. He puts a face to the enemy and the almost unavoidable trajectory of mankind being at odds with each other and in that sense the story feels almost tragic. War is bloody and grim and violent. It is full of events and actions that, to create hero stories, almost feels perverse. Kot's stance on such violence may be a different angle and subject matter than is typically found in the pages of The Darkness, but with Vicious Traditions, he is not shying away from such a viewpoint and it makes for a strong read even for readers who have never previously given The Darkness a try.

But all is not bright in the story and there is some serious set up taking place right from the start. The reveal regarding Lindy leaves room for one major arc that could run a good bit of time in the series. The sisters also drop hints about existing superhero teams among other status-quo nods. All of these small elements do a fantastic job of developing without over-informing. Readers will find themselves effectively teased by the many hints. That authentic desire to learn more about the world that Rich creates is a reassuring sign that this is a series to which audiences will return, not simply for a cliff-hanger but for something much more substantial.

The first issue is a decent one that has a good balance of world building with the more intriguing premise of the story. The Eighth Seal has enough originality and careful construction to be excited for what lies ahead in the series.

The Fallen presents a lot of possible pathways that can be explored. This could make for a fantastic story, or could put the title in difficult spot in deciding what it is trying to be. Thus far, there is a good bit here to enjoy.

Pires, as previously mentioned, has all the workings of a classic story archetype here, but with more than enough originality to make the pages of this first issue fly by. Paired with excellent artwork from Rubn and Garland, The Fiction is setting a high bar for itself. As the first issue concludes, the creative team offers a series of images that strike as ominous, despite how abstract some of the sequence may be. If his previous work is of any indication, Pires is setting out to take readers through a grand adventure that stretches the imagination and challenges as often as it fascinates.

The biggest downside to The Fiction #2 is that the issue ends. Just as the story turns a corner, unveiling a few pieces of immensely intriguing information consecutively, the second chapter comes to an end. The creative team has done a fantastic job over the first two issues to set up a universe and a conflict that manage to be enthralling and rather original. It will be exciting to see what lies ahead.

The entire reading experience is well crafted and singular in its vision. The book continues to be a wonderful piece of originality that finds a way to raise the bar each and every time.

It is a credit to a creative team to craft a narrative that has so many maddening concepts and vast universes that readers want to know about every aspect and crave more upon its conclusion. Pires, with Rubin and Garland have certainly accomplished that task with The Fiction and this short series is likely to warrant multiple reads. While the final chapter does not quite provide all that readers may hope for, it is still a solid issue with many great moments.

Accompanied by Justin Greenwood and Shari Chankhamma on art duties, this is a great book. It looks gritty, almost muddied at times, but manages to keep the environment and its elements quite relatable. Crime drama is not often a genre tackled in comics. Johnston addresses this in the back of issue one, pointing out that it seems a strange thing to avoid. Whatever the reason might be, Johnston has given readers a reason to think again, and The Fuse is well worth a read.

After four issues, readers are finding themselves going deeper and deeper into this thing and it is looking like that issue five will continue that trend in the most literal sense.

While it may take some readers a bit of memory jogging to remind themselves of some of the character's or how certain pieces were involved as the story is playing out over months, Johnston has managed to keep the case relatively intimate so that readers are not left to balance an enormous amount of information month to month. For those with the patience to let a case unravel over that amount of time, The Fuse has been quite fantastic.

In its conclusion, the first arc of The Fuseis a strong one. The opening mystery is wrapped up well, and readers are even treated to an explanation as to why their shift is called “The Russia Shift,” with a very cool panel. It is an arc that established the series as one that proves its concept and is sure to bring readers back.

Antony Johnston has returned to Midway and brought a second arc that surpasses the first with a number of issues still to go. This excellent script and the subtle, yet effective artwork from Greenwood and Chankhamma lend further support to the argument for The Fuse being listed amongst the best new series of 2014.

As the issue comes to a close, readers are given a bit more information about the overall plot surrounding the demise of Cathy Huang. For some readers, this new bit of information may be an exciting and unexpected twist that only adds to the arc. For others, this piece may look more like such a drastic diversion from the leads that had been followed thus far. While this type of shift can happen in a case, the time spent on the suspects and motives so far feels like lost panels if the plot is to shift. Johnston has managed to tie the story and the many layers together thus far. Hopefully, he is able to take this final tease in a direction that feels as natural as the other choices that have come before.

From the very start, The Fuse has been able to raise the bar each time for what it means to have a dynamic and rounded set of central characters that readers will follow through any adventure. As this issue seems to indicate that the detectives have figured it all out, readers will be anxiously awaiting the finale of another excellent arc.

The Fuse is a book that feels like a seamless fusion of art and writing into one very smooth production. As such, the story has very few moments of flair for any one of its creative pieces. When the Mayor shows readers just how cowardly and shallow he really is, Klems son has a fantastic moment to shine. The minor character really comes through here with a few simple lines that leave the Mayor with really only one option. Despite this excellent bit, the scene is short and without any real flair in how things are presented or delivered. Still, Johnstons handle on his characters, along with art that seems to always match every beat results in an end product that has managed to maintain and improve upon its own quality with each issue. Heading into the penultimate issue of the arc, The Fuse impresses yet again.

For readers who have never picked up a book drawn by Eric Powell, the art alone is a reason to check this story out. He is immensely talented and there is no shortage of talent on display in this issue. Powell is a great story teller and his visual technique is as strong as his writing. For that, it is great to have The Goon back and this arc looks to be really fun.

The simplicity of the storys premise is a large part of the success here. A log of past hits has fallen into bad hands and may be released to the public. It details every hit arranged, the targets, dates, and locations, as well as who called in the job. Burrellmakes the only move he thinks to make, leaving the man to figure out just who is ordering the hit and what motivation theyd have to seek him out twenty years into his retirement. The Last Contract delivers on every level. This-mini series is off to a wonderful start.

Gabo is clever in the way that he inserts clues and images into the story in seemingly nondescript panels, but it makes for a good argument as to why this book should be read twice. There is a lot on the page presented in an understated way. By the end of the first issue, there will be a number of questions circling any reader's head. Fialkov and Gabo certainly deliver an impressive first chapter in their new story and it carries a significant confidence that there is much more to come.

There are a number of unknowns established rather quickly, yet the creative team for The Life After maintains a momentum that is exciting and engaging. With Fialkov's credentials and strong art from Gabo, this is absolutely a series to watch.

Next issue looks to be as interesting as the story has been so far as the Foreman has been granted the ability to handle this situation on his own and has chosen to negotiate with “the man from downstairs.” As the world building continues, and Fialkov introduces more characters it will be very exciting to see what lies ahead.

But it would be too telegraphed and expected for Fialkov and Gabo to simply deliver on the promise they teased last issue. In the final moments of The Life After #4 the series takes a very unexpected turn, and the possibilities expand yet again. While the first three issues of the book have been fun, the new territory that Fialkov and Gabo touch on in issue four provide insight into just how quickly this premise can grow and it makes the anticipation for the next chapter even greater.

Nevertheless, the chapter continues to be an absolute blast. Not one to miss an issue for the opportunity to comment on cubicle life in a large office or company, Fialkov adds in a quick jab before returning to the massive story on hand. Gabos design of the demonic form of The Consultant is fitting of the character, but the human form is even more enjoyable. Introduced as a cool henchman but likely little more, it looks like there will be more for The Consultant in the coming issue. As Fialkov and Gabo bring the issue to a close, the story takes another sharp turn and ends in spectacular fashion. With a number of solid teases under their belts already, the conclusion to The Life After #5 is the best yet and anticipation for the next chapter is at an all-time high. The still-young series from Oni Press just keeps improving.

Readers will certainly have a lot to chew on upon reading The Life After #7. The book has yet to slow down and still manages to bring a whole new rush of excitement each time. Gabos art continues to be an impressive complement to the story. From the amazing design of creatures like the Seraphim to the massive god, Ometochtli, readers have as much to look forward to from Gabo as they do from Fialkov. With God as a potato, sequences depicting immense tragedy and the underworld beginning to really get involved, there truly is no predicting what may come from chapter eight. The Life After is as entertaining as it is unexpected and its creators are bringing readers on one of the most unique rides in comics right now.

While The Life After #8 feels a slight bit subdued, the chapter is filled with pieces of whatis coming. The creators show, yet again, just how much fun they are having in the production of the story. Using the issue's tease of an ending as an indication of what lies ahead, readers can count on The Life After #9 attempting to top everything that has unfolded so far.

The book ends quite abruptly and quite violently. As previously mentioned, Fialkov and Gabo have a way of introducing violent moments into the book without warning. In this issue, such an event occurs twice and each time it is very effective. As the book comes to an end, the story certainly sets itself up for what looks to be a very exciting next few issues. After a good number of setup issues that introduced the world and many elements of the universe, Gabo and Fialkov have spent recent chapters on putting pieces into place for what looks to be a pretty massive clash between sides. With such a rich world to play in, the creators seem to be in a place where almost anything could happen and not only would it fit in the world they have built, but it will likely be things the readers have not seen in books before. That is certainly a unique and impressive place to be and a credit to what Gabo and Fialkov have accomplished with The Life After.

In a way a crime thriller, Vaughan and Martin have found a way to bring an entire new brilliance to their tale. The Private Eye is more than a gimmicky marketing play, and readers would do well to jump on board.

With a title like The Remains, and a cover that is mostly black, fans of his work should have a pretty good idea of the type of story found inside. Fortunately, Bunn has proven that he is more than capable at telling scary stories, and with A. C. Zamudio on art, The Remains is in good hands.

The Spire could be summed up as a crime procedural with some fantasy elements. That however, would not do justice to the care and craft by the creators behind the book. The new series from Boom! Studios has, in just two issues, created an amazingly elaborate new universe that is as enthralling and captivating as the central plot. Spurriers vision for this unique setting brought to life through the work of Stokely and May have made for a very intriguing first two issues.

The Spire #3 is an excellent issue that raises the bar even further on the series, adds even more intrigue and still has some of the series best moments of action and tension.

The fourth issue of The Spire is a very interesting one. In some ways, the plot line of this chapter feels a bit like a setup issue. Readers witness Sh be given an ultimatum, those close to her dismiss her all before an excellent final page. Doom is coming to The Spire. It seems like there is little, if any hope of stopping it.

The Spire #6 is a wonderful ride of emotions and one of the strongest issues of the series. Spurriers sculpting of the narrative from issue to issue continues to pay off, and the art work from Stokely and May seems to find new way to impress with each chapter.

Mr. Hitchins is not necessarily a protagonist, though he will be the central character to this tale. More of an anti-hero, Hitchins appears to function as a man with little purpose. When he is approached by a group of individuals hiring him for a gig, he does accept, though he demonstrates his reluctance to be very agreeable. In just a few short scenes, readers get a sense not just of the world and Hitchins, but the story that lies ahead. These new beings have some hold over the society as Earth plays host to them. Some individuals have transitioned to becoming servants to these new beings, while others find ways to get by. Squidder #1 is mostly an introduction, but it is a successful one. For individuals accustomed to Templesmith's style, the promise of a book that is entirely his creation should be a selling point on its own as this first issue does not disappoint.

Templesmith does a great job in this issue finding different ways to not just build out the worlds history, but use that information to push the story forward. An unlikely pairing surfaces and within panels of meeting this new character, there is a personality and a sense of possibility that improves the series and the pacing. There is a growing mystery and a sense of excitement comes along with it. While the opening chapter showed real promise, Templesmith goes even further in issue two and as a result, Squidder looks like it is going to be a real treat.

The story in Squidder #3 focuses on the destiny of Jack. A squidder who has been fighting for over a century, Jack is revealed to have some genetic ability that leaves him both partly human and partly squid. While this makes for a jaw-dropping sequence, followed by some exciting action, it will be curious to see Templesmith explore, through Jack, the concept of being genetically linked to the thing he so despises. In Squidder #3, the story feels to only advance slightly. Though the direction the story may go has shifted as a result of this chapter's events, the momentum has slowed slightly here.

There are a number of amazingly enthralling concepts at play in The Surface already and the series has only existed for two issues. After the events of this second chapter, it looks as though the book could shift dramatically in the next chapter. At the very least, after these two issues, it is quite difficult to have any idea about what to expect next. This is not a series for everyone, though it does not need to be in order to be a well made story.

As the final pages come across, the proverbial gauntlet has certainly been thrown. Featuring a fantastic final page, the creators are not shying away from showing their card with regard to where the story is headed. Though the construction of the story is certainly that of a dystopian society, the unique elements about how this status quo has been reached, connecting it to the collection and use of personal data through the internet is clever. Piresalso utilizes a number of casual mentions or background images to indicate so much history to this cause and fight. It is incredible to get a sense of just how massive this problem is through these elements placed throughout the story. With so much having occurred already, it will be interesting to see where the next issue heads.

It feels as though it might still be too early to know exactly where this book is headed or what to expect next time. However, Pires has certainly presented two strong issues thus far. Hopefully next month The Tomorrows will begin to take shape.

Reading through The United States of Murder Inc. #1 feels as exciting as a Guy Ritchie or Edgar Wright film. Bendis, Oeming and Soma have certainly delivered.

The second chapter of Murder Inc contains a lot of exchanges. Between the scenes in the past and those between Valentine and his mother, the issue finds a way to build the characters and the story within individual conversations. Bendis proves that bullets do not need to be flying around for the story to progress. While not easy, he manages to keep this issue both informative and exciting. This is definitelypartly due to the immense talent of Oeming and Soma. The use of color and shadow produce an incredible amount of emotion on the page. Soma's ability to strike a tone and Oeming's panel work make for a fantastic combination. It may be early in the series, but there is no question that The United States of Murder Inc is a must-read series.

The United States of Murder Inc. #5 is a more intimate issue. No guns are fired. The story does not cut to the other families. Readers, instead, are kept inside this Vegas casino for the entirety of the issue. The world continues to shrink for Gallo and despite having ventured far from home; his places to run and his number of options are shrinking fast. With few places left to turn, and without allies, Bendis and Oeming have positioned their players and stories into a place that makes every page turn exciting.

Overall, the story so far is definitely intriguing and Tynion's character work sets up the potential for some really fun twists and turns. With some decent mysteries added to the mix, The Woods is an entertaining new series.

At this point in the series, however, the absolute vagueness of Adrians persistence to head through the woods and the strange circumstances that the entire story uses as its premise are wearing thin. While the imagination of the creative team is to be commended, the story will need more than some monsters soon in order to hold an audience month to month. Hopefully the next issues delve a bit more into the circumstances of this teleportation, Clays motives or Adrians vision. All the while, Michael Dialynas and Josan Gonzalez have remained consistent. The pencil work and paneling has been good throughout and Gonzalez offers an interesting color pallet to the alien planet. As long as the story begins to offer a bit more information amidst the forward momentum, The Woods will remain a worthwhile book.

Leon Theremin is a great new character. Though rooted in history, it is not hard to see this is the product of someone taking the premise of a scientist turned operative to its creative conclusion. Based during the era of Communist Russia and the rule of Stalin, add in spies and advanced technology and you have Theremin. Another great new story from Monkeybrain Comics.

Theremin continues to reach for something grand in its story. Hopefully Pires' plans come together a bit more in the next chapter so that his execution is able to match his intentions.

Theremin #3 needed to impress enough to overcome some of the concerns of the series' second issue. By the end of this chapter, the creative team have far surpassed that bar. Pires remarks in the back that this issue is not a continuation forward flow and instead can be likened to an ‘LSD fruit punch,' stepping away from linear narration and adopting a much more fascinating structure. It might be a difficult style to adjust to at first, but the payoff is worth it. Pires can be put alongside Jonathan Hickman and Matt Kindt in his control and vision after in chapter.

Even for those unfamiliar with the series, this is an issue worth picking up for the exposure to something unique and will be a great source for discussion.

The story begins to take an interesting turn beyond the halfway point. With only a few subtle hints that something is amiss, suddenly the readers will catch on to an underlying plot. As the story moves towards the final panels, Cornell and the art team add in an entirely new and unexpected angle to the book. With this conclusion, This Damned Band has even more to offer heading into its second issue. These band members may likely regret pretending to have an affinity for the dark arts. This Damned Band is a well-crafted new story with a ton of potential.

Palle Schmidt's art is quite beautiful to look at. Whether it be moments depicting Alsop's journey to the family home, or flashback sequences, the line work and coloring combine to create something quite majestic. If the creative team can find a way to spend a bit more time allowing the art to breathe, the reading experience of this title will certainly improve. As of now, this young series has much to offer and should be on people's radars. Hopefully as it moves forward, Miskiewicz and Schmidt strike a balance that allows for a slightly smoother pace.

As this is the first of six issues, the mystery and chase is not to be resolved here. Just as the heroes close in on the culprits, fate steps in and Braniac 5 and Psimon are able to escape. It is an absolutely enjoyable first issue and it is a reminder how much this series has been missed. Art and Franco are writing real all-ages books. Tiny Titans: Return to the Treehouse should be high on anyone's list. Those familiar with their work should know exactly what to expect here, and this is as good as what has come before. The book won't be around for long, and readers would do well to not miss out!

Overall, there is a lot of potential. It will be interesting to see how the series develops going forward. As of now, the first issue of Toe Tag Riot falls short of what it could be.

Revisiting old works of fiction to add a new twist or view can be entertaining. The creators of Toil and Trouble look to do more than have a bit of fun in an old world. After the first issue, they are certainly on their way to adding a completely new and well-crafted part to a classic piece of literature.

The book is just dancing on the edge of the chaos that lies ahead and it has already managed to be incredibly captivating. As Toil and Trouble moves into the major events of the source material it is bound to get even more thrilling.

In an unlikely twist, a moment comes when the three sisters, at odds from the very beginning, join together to bring about an end to the chaos they had incited. While each had their own role at one point, and seemed to fight for different values, the protectors of Alba are united in the tales resolution. This final piece of the story cements the brilliance of the creators. Toil and Trouble is an unexpected work of art. The last chapter holds as well made as those that came before it. Never would anyone have thought such a tale could come out of this premise. And yet, it is able to exist within the original framework, and may even enhance it.

As the issue comes to a close, the story reaches its real moment of revitalization. Taskmaster appears to be just another foe to defeat, and the issue is nearly forgettable when this crew comes together and makes a plan for the future. These misfits have been left to the own devices and have no one to turn to. S.H.I.E.L.D. may be involved with Roxxon in some way, and there is no telling who can be trusted. Suddenly Bendis has created something that is reminiscent of Brian K. Vaughan's Runaways and though it may be short-lived, it provides for a great moment and a resurgence of energy for the title.

In this single issue, Bendis and Marquez close out a chapter in the series with impressive skill, and simultaneously lay the groundwork for an entirely new era to come.

Issue #200 is a love letter to a character that holds so much weight with the readers of many generations. It is incredible heartfelt, and feels like the eulogy that Brian Bendis wanted to deliver. He takes on the task of remembering Peter, the anniversary issue, and handles it so well. Likewise, Marquez's art and Justin Ponsor's colors throughout the issue are magnificent. Moments including MJ's walk to the house surrounded by falling leaves, Mile's daydream of Peter as his mentor, and of course an exchange between Ganke and Gwen, all showcase their ability to communicate emotion and tone. For each creator involved here, they have brought their best efforts, and it lends to one of the most memorable issues in the history of the title. Peter inspires, even after his time and that is not just confined to those within the book.

There is a lot of care taken in the decision making and sculpting of every aspect of this world. Veil is taking its time in letting readers in on its mysteries, but it is doing so in an engaging way. With the inclusion of the character, Cormac, things look to pick up quickly and that makes for a long month waiting for issue 3.

The first issue of Winter World is mostly low key. Readers are given a few hints at the location of the individuals and where they are headed. There is the mention of some town and Wynn's relatives, though it is all done in a way that functions more as teasers than of anything truly informative. Guice and Rodriguez do a great job depicting this new world and there are a number of fantastic visuals in the issue, including an excellent panel of a warship frozen in the middle of the ice. Winter World has a very natural pace to it in its first chapter, but packs in enough character to grab readers and keep them waiting for issue two.

Wolf #1 presents an original story that places people with abilities in the modern day. It's a detective story, in a way, and the lead character is as unlikely a lead as possible. But that fits the tone of the book; placing squid-faced men, vampires, and murder all within the same first issue.

Wolf manages to be frustrating for what it withholds, while simultaneously engaging for the very same reasons.

Hopefully next week there is a bit more story to balance out the onslaught of the action. Even still, this new series feels very much like a big action movie and is a lot of fun to experience.

Now that Marvel is charging full price for its Infinite comics, they will have to deliver a bit more than surface level entertainment if they want to make this a viable format. For now, it does manage to hold the audience's attention. Soon though, they are going to need more than that to maintain readership.

Though the ending climax is effective, it is partially telegraphed. The story still has yet to take shape. This issue does shine some light on how Wolverine came to be in this position, but still many questions remain. No character is written to be particularly interesting, and very few seem to be around for more than an issue. The art has moments of real strength and they are able to use the format to their advantage. Still, Wolverine: Japan's Most Wanted is certainly not up to par of the previous Marvel Infinite titles.

The issue is mostly without any visible violence. Joe Hill does a great job at telling stories and presenting situations that strike a chord that is much more primal and effective than leaving it to some overly graphic image. The book is not without its uglinesss, and it certainly has many chilling elements. Pairing the ongoing tale of Charlie Manx, his car, and Christmasland, The Wraith is a superb twisted new title. Wilson and Fotos add to the script, creating fascinatingly creepy visuals. The total package of The Wraith comes together wonderfully and for fans of Hill's writing, The Wraith is absolutely a book to follow.

Kot has produced some fascinating stories through different publishers over the past year. He is a real talent, and has surrounded himself with an art team to match. Zero may have a lot of incredible story ahead, but the first issue comes up a little short, which is a shame after such a memorable beginning.

A man at the end of his life had a story to tell. After six issues of Zero, readers will not just wonder what else he has to say, but desperately hope the trigger remains still long enough to understand it all.

There is certainly a fine line that is played with here in terms of opacity. At times, writers can get overzealous in how much they are teasing and concealing and suddenly the script is a series of random puzzle pieces that winds up mostly frustrating the reader. Kot never crosses into this territory, and yet readers begin and end the issue completely in the dark. Taylor is an excellent choice for the issue as his panel work and pencil work handle the script incredibly well. Issue #7 of Zero is another excellent installment in the series.

Kot has been incredibly successful in finding a rotating cast of artists for Zero so far. Each manages to have their own style, while keeping a familiar sensibility for the series. Throughout, colorist Jordie Bellaire has provided absolutely stellar work to tie it all together. Bellaire has managed to adapt to the artist of the issue, giving each its own look, and yet never straying too far from what has come before. As a result, Zero is as unpredictable in art as it is in story. Even still, each chapter is a natural evolution.

With the second story arc coming to a close, Kot has delivered on creating a series that has featured a different artist and vignette every time. The world he has created does not suffer any losses as this fragmentation, and in many ways it feels even better as a result. It will be interesting to see how this second arc wraps up. There is a definitive shifting sensation in the series over the past few issues and it positions the series in a great way to become something new, yet again, moving into the next arc.

There is still much to learn witness and explore in Zero in order to find out how the story will reach its opening scene. Though little has been done in several issues to hint at the changes in the larger world, the growing anticipation and ongoing development of Edward Zero as a character have captivated in unexpected ways. Kot is putting out some of the best work in comics right now with a growing list of artists who bring something unique to every chapter.

The final moments of this issue ripple back through the entirety of the series. The color so many of the preceding events in a different way. Readers may find themselves revisiting many events in the past, or even rereading the entire twelve chapters. With what comes in the final pages, so many mentions and instances that meant little before now connect. It is fascinating how one page, after a year of storytelling can have that kind of effect. And yet, even with this new enlightenment and view of the events of the story, a significant number of uncertainties exist. Possibly, now, even more questions are at play than before. It's a strange place to feel as though both resolution and unrest come of the same action. However, just as the final moments of the first arc left readers buzzing with crazed after a massive and unexpected ending, issue twelve shook the snow globe once more.

Jordie Bellaires continuity helps tie the issues together, especially here with such close proximity to the previous chapter. The color work matches the art quite well and, with such a confined space and so much movement, it is Bellaires colors that balance the active pencils and inks from Ponticelli. And for Kot, Zero #13 is yet another fantastic issue in an incredible series. Interestingly, it appears that this arc will have a much tighter succession of events than the previous arcs as the story looks to carry right into next month, yet again.

Its bleak. There is no escaping that sensation while reading Zero. But the story and craft are mesmerizing and Zero remains one of the best books in comics right now.

One thing is certain about Zero as a series: people who appreciate creativity and innovation should absolutely be on this journey. Readers will be hard pressed to point to another work in publication that overshadows what is being done here.