Spencer shows his experience with the comic book medium, allowing the visuals to really the tell the story. Often, his captions do not directly narrate the visuals, but rather supplement them. Riley Rossmo's artwork does a lot of heavy lifting and does it well. The pencils feel raw and almost dirty but it fits the backdrop of crime-filled Bedlam. Rossmo's use of body language is powerful and sells the humor-- taking a masked Madder Red and making him appear happily animated while carrying out his plans. Jean-Paul Csuka's coloring effectively contrasts the drab color schemes of Fillmore's life with black-and-white flashback sequences accented with red-- of which there was plenty due to Madder Red's bloody exploits. Despite Madder Red's close resemblance to the Joker, the storytelling stands strong. All in all, a solid first issue.

Without much from the leading man, Declan, it is hard to determine the direction Tobin plans on taking the series-- a small stumbling block that could turn readers away. Nonetheless, the issue stands tall on its own. Being left with more questions than answers only makes me look forward to the second installment. Colder #1 is a strong series opener with strong supporting cast and wonderfully creepy art. A job well done.

Tobin is weaving a dense plot into this five part mini-series. With how many questions have been posed so far, I'm not sure how he could wrap it all up in the three remaining issues. My doubts aside, the wealth of characters Tobin has created and the captivating world Ferreyra has drawn are more than enough to make this comic book an extremely enjoyable read. I will be with them until this creepy ride is over.

Without much from the leading man, Declan, it is hard to determine the direction Tobin plans on taking the series-- a small stumbling block that could turn readers away. Nonetheless, the issue stands tall on its own. Being left with more questions than answers only makes me look forward to the second installment. Colder #1 is a strong series opener with strong supporting cast and wonderfully creepy art. A job well done.

Critter is straightforward, elegant, and fun. Hutchison avoids the overbearing melodrama found in a lot of superhero comics, making the book lighthearted and pleasurable to read (unlike some others... *ahem* I'm looking at you, Wolverine). This is only the second issue I've read from the series (I had previously flipped through issue #1) and I was surprised by how easily I could grab ahold of the various plot threads without feeling lost or confused-- a testament to the accessibility of the writing. I admit there is little uncharted territory plot-wise and the scantily clad supporting cast is guilty of being very cheesecake, so the simple joy of the book does have a few trade-offs. Nonetheless, issue #8 is a solid part of a very enjoyable series. I look forward to picking up the next one.

Dark Horse Presents brings so many different creators freedom to explore boundaries with their storytelling. That freedom always results in strong comic books. Yet another strong anthology.

Is it high art? Of course not! And if that's what you like I recommend you stay away. But for the rest of you, the few of you, who live for the sexy thrills, the ridiculous explosions, and the messy gore, go grab a copy as soon as it hits the shelves! And welcome to the Grindhouse.

This is Katana's first solo book, a spin-off from team books Birds of Prey and Justice League of America. I am happy to see DC branching out and taking a chance with an otherwise background team member, and a female Japanese lead to boot. Nocenti did the necessary-- introduced us to Katana's character's flaws, her enemies, and her mission-- but unfortunately, it isn't enough. Despite beautiful visuals, the storytelling never seems to go beyond average. The sad truth is if this were a Batman or a Superman, it would be plenty to go on, since those characters have a long-standing mythos surrounding them, but for some reason all B, C, or D list characters have to compete with extremely high expectations.

Not only is Mind MGMT a pleasant read, it is a full on package. Each issue includes extra content on the covers and hidden codes that can unlock bonus features online- none of which Kindt plans on reproducing in the collected trade. So, did you buy your own copy yet? Seriously, get one digitally or go to a store and pick one up. You'll thank me later.

The plot crawls slowly with all the exposition at the beginning but the fun action sequence at the end is a pleasant release. This front-loaded spy-thriller still makes for a solid issue but I hope Ostrander finds a healthy balance in the future installments-- his story deserves it. Will I pick up the next issue? Absolutely.

This is the weakest issue so far and it still manages to present fun espionage thrills. I continue to hope Ostrander is able to find the balance between strong character development and blockbuster action. Still, I recommend the series for anyone looking to get their Star Wars fix but I wish I felt comfortable recommending it to any non-fans.

Rooting for the lying anti-hero is what makes TV shows like Dexter or House of Cards so compelling. Dexter's penchant for killing or Francis Underwood's ruthless ambition are disturbing in their own right, not unlike Otto's hostile takeover of another man's body. The difference? Slott has yet to reveal in Otto likable qualities, versus Dexter's love of family or Francis' loyalty. The Amazing Spider-Man lasted seven-hundred issues because of the strength of Peter Parker, not simply the prowess of Spider-man. If Slott can connect his readers with Otto, he has set up the series for a home run. I just hope he can keep from striking out until then.

This is only the second issue of The Massive I have read (I had previously checked out the debut issue). I was impressed by how Wood manages to make so many different plot threads easily accessible, even to a newer reader like myself. With enough characters to rival a soap opera, I expected to be lost in the complexities of the story. However, Wood focuses on presenting strong characters not just plot ideas-- characters that do not require extensive exposition to grasp. Whether it be Captain Israel's calm calculation, or Georg's grim (albeit cutthroat) determination, Wood's characters are what make navigating the various story-lines seem easy. Taking team goals and interweaving them with personal motivations gives the book great emotional depth, and its story a grand scope. With fantastic characters, stunning artwork, and intricate plot design, The Massive is a comic book experience that should not be missed!

Despite the well written dialogue and elegant art, I felt like Wagner kept me waiting for a stunning moment that never happened. Issue #1 trades action for exposition, and what little tension is created toward the end results in a straightforward reveal. I also anticipated Allard/Cranston to make more mistakes or test out crime fighting methods, but it seems that even from "year one" the Shadow has his act down: applying his marksmanship with a pistol, his psychic powers, and even a fearsome appearance to his vigilantism. I am not disappointed-- the story jumps right in and feels at home in the pulp world, setting up several plot threads that will deepen the hero's mythos. Wagner definitely left me feeling impatient as I wait for #2-- I'd say that is a mission accomplished.

Cullen Bunn's writing packs a lot into this single issue, perhaps a hair too much. Abigail's characterization was too varied between "confident" and "paralyzed with fear" to get a clear grasp on her, but Bunn usually reveals deep wells of intrigue in his characters so I look forward to her development. Brian Hurtt's visuals are fully capable of both gruesome mutilations and expressive head-shots. The tone and voice of the dialogue is heavily carried by the way Hurtt draws the eyes" sometimes cold and steely, other times full of terror or surprise. Bill Crabtree's colors add emotion to the elegance of Hurtt's style. He gracefully shifts the bleak mood during the flashbacks and winter sequences to the energized feel of the wagon chase. Overall, issue #26 proves Bunn and Hurtt have long since figured out that well-crafted plot and well-paced visuals make for a great comic.

Toward the end, the banter between Domino and Daredevil seems a tad stale-- I hope for more depth in their interactions in the following issue. Still, the two leads are well presented, the action is well paced, and the art is fantastic.