This book serves as a reminder that real, normal people exist in the BPRD/Hellboy world. It also serves as a reminder that even the BPRD is only seperated from those real people by their uniforms. Most importantly, though, it serves as a reminder that we ourselves could very easily be those real people if our world was turned upside down and then burnt to ashes like this. Buy this, breathe it in, confront the feelings of horror and terror you experience in your everyday life and then realize that it could be so much worse, it's both cathartic and awakening in the best ways.

Go buy it already because DeConnick and De Landro have something to say and you better be listening.

Copperhead snakes are quite venomous and this book is too in its own way. It digs its panels, pages and characters in and infects you in the best way possible.

Alien and familiar, this book is nothing to miss.

The end of this first arc perfectly exemplifies everything I’ve liked about this comic from the very first issue. Copperhead is a place that could exist out there in the stars in the future, somewhere wildly different from the life on this planet we know now, but one that still has family, heartbreak, deceit and heroism. Maybe, that place already exists and these creators are merely telling that place’s stories to us. It seems that authentic, after all.

Low itself is just that, a treat, a gift, a chance for us to experience a world that is both broken and hopeful.

Low in elevation but not low in spirits, Stel and Marik are setting out on their journey for real now. How long will it take them? I have no way of knowing. But, I'm here for the whole ride.

Reading this book is a little scary. Scary, because it's so honest and raw and it hits really close to home. For me, and for others that feel what Coop is feeling, this book is a terrifying and poignant meditation on our own lives through the fantastical scope of other's. That's exactly what makes it so good though, you can tell that Pires and Copland are putting themselves into this, you almost feel like you know them, and that's so deeply rewarding and touching that I come back time and time again for Pop. I'm sad that it's ending soon, but I'm happy that I experienced it at all.

Buy this book. Read it. Read it again. Think on it. Read it again.

I was scared when I read issue 1 of this book, scared that this book would never touch on the bottled lightning feel of that initial look into this world. My fears have subsided, with one more issue this good, I’ll be a die-hard fleeter even more than I already am. You should be in for the long haul.

Copperhead feels like a place I visit, now. It's not a world I see from the outside, it's one I go into and look and feel around in. The story and art are working so perfectly together that simple traveling scenes that I might trash in other comics are merely minor missteps in this one. I want more Copperhead and you should too.

Copperhead is like a fresco, from far away, it's quite beautiful, breathtaking and resonant. Up close, you may notice some cracks that take away from the overall image. In the bigger picture, hose cracks are inconsequential even if they are noticeable. Copperhead is a lot of things and for the most part, all of those things are good. Really good. If you’re not on board yet, you need to be.

Dark Ages 1 is good, not great. That being said, there’s 3 issues left and Abnett and Culbard clearly know what they’re doing. Now that the stakes are raised for our knights, Abnett and Culbard need to keep it up and Dark Ages could quickly become something to talk about.

Dan Abnett's tale of intrigue continues here, helped greatly by Culbard's poignantly dark and crisp art and frankly, I think issue 2 is even better than issue 1 even if readers are left with a painfully indulgent cliffhanger. Issue 3 can't come soon enough.

Fans of fantasy, generous religious talk. and Mignola, check this out.

I don't want to give too much away so I'm just going to say this: If you think comicbooks have been a little too serious lately, if you need a break from the grim-dark world of superheroism, if you want to laugh a belly-shaking laugh, pick up God Hates Astronauts. It doesn't take itself seriously and it invites you to not take it too seriously either. It's a breath of fresh air so breath in and then laugh out.

I'm a Public Relations major at my university. I talk and learn about social media every single day. If you had told me, before I had a chance to read it, that this comic was coming out I would've scoffed at you. I would have also been wrong. This is a fun, scary and accurate interpretation of the world we live in, it's real and honest, what else can you ask for?

This is only issue two, this is only day two, but it's the end of the world as we know it.

If you think you can handle it, peer into the heart of Silent Hill as it's contained in this issue, you won't be dissapointed.

This is a powerful first issue. One that demands your attention. It's almost so fast that it's hard to fully grasp what's happening unfortunately but just when it seems like too much, it's reigned in and honed into a concise introduction to the world. Like bottled lightning, Ghost Fleet radiates a specific energy. I'm not sure that they'll be able to keep this level of verve up in following issues but if they are, all aboard the Ghost Fleet.

Some readers may be frustrated by the cryptic nature of the story, feeling like its treading water by only giving so much each issue. I say to them, just wait. I can tell this comic is something special.

We're wading into a mythology here. One I can see extending for quite some time. This book, with its lofty premise and confusing motivations and conversations, is kept grounded by its ties to real life superstars, gods, peoples and religions. It's a familiar story told in a fantastical way and that's what keeps it so good. I don't know where it's going. I doubt anyone but Gillen and McKelvie do. But, you need to catch up on this book if you're not because it's definitely going somewhere. Somewhere divine. Somwhere wicked. Somewhere interesting and rewarding in a new way.

I never know quite how I feel about Wicked and Divine issues until a few days after I read them because it's such a cool, intense concept that I usually feel isn't handled as best it could be. This time, I know exactly how I feel, and it's good.

This book does little beside establish it's premise and that's both it's strength and weakness. I'm dying for the second issue, but I'm slightly worried I may be let down simply because there's not much going on besides the set up here and it's hard to tell the pace, tone and shape this story will take.

I'm not entirely convinced that a two issue story is the right fit for Baltimore or any Mignola comic because you miss out on the complexity and layers that I love so much in these and other worksbut, this one is certainly deep and rich enough to try.

I don't think this book would succeed the way it does in any other season than the Halloween/October one and I think employing the weekly release method was an excellent decision that may bring readers back even next October to revisit this.

This is a complex, layered book riddled with mystery and symbolism. Human and alien, it's a fun read that may leave you wishing more was revealed but also satisfies you the best it can with it's minimal run.

The GHA website says Browne's book, previously an immensly popular webcomic, is "The best comic money can't buy". I would say that now it's the funniest comic money CAN buy and, one that should be bought.

What this issue lacks in story, it makes up in art. This is a fun, if so far average Hellboy story that I think is going to go somewhere truly unexpected. I’m looking forward to it.

This book makes little advances in plot aside from the very last panel but, that's okay. It's okay because this is clearly one piece in a large puzzle. It's a very well-done puzzle piece. One that rests precariously between the explorative nature of all things human and the fear of the unknown.

This is how strong an Image first issue should be but, a first issue can only be so strong. This is an example of that. I could've done with more speaking, more characterization, but I was so wrapped up in it that I didn't think about it later. That's enought to keep me on for now.

The story, its brooding nature, is one of intrigue and mystery even if we know the end. Grecian and Rossmo keep up the pace here but it's hard to decide whether or not that pace is the appropriate one. I don't think this issue will pull readers on the fence in but, I do think it's a great indication of whats to come which I have high hopes for.

Issue two doesn't hit the same stride that issue one did but, it does settle into a comfortable pace. One that is proving to be the perfect pace to travel through Anne's hell. Silent Hill done right is Silent Hill Anne's Story. Fans, don't miss out.

There's no mistaking it, this is a horror book, and, it's definitley not for kids or teens like the Sabrina and Archie books usually are. This is a dark, forboding tale for the aged minds of readers familiar with the simpler times. Yeah, it's without a doubt a novelty but that doesn't mean it doesn't have its own merits. October is the perfect time to do something like this and it's more than rewarding to see Archie Comics doing this to their ever-popular books. Even if it does seem a bit shallow in issue one, I can see this kind of experimentation really paying off not only for writers and artists but for readers too.

This book is doing tone right, this book is doing fear right, this book is a delightful read for fans of Grey's quips and rationality. This is a book that feels like it belongs in the Hell Boy universe. However, the story is still very confusing and I'm not entirely sure they can wrap it up in only one more issue.I'm ready to be proven wrong.

DiBari's art is classic in execution but still enthralling. The first few panels of this issue, our only real look at the Cutter, are exquistely well done. There's some confusion between panels and I can't help but think that color would've really added to this story (it's in black and white) because the covers of this issue and upcoming ones demonstrate how well DiBari's art could be complimented by it. That being said, the art is without a doubt strong enough to hold its own and the careful use of shading and play black and white does a great job of conveying a specific dread.

DiBari, Fahey and Napton have established themselves as masters of the short horror story here. Like visual Stephen King, this story is an unraveling and deeply terrifying portrayal of a broken town whose revelation is at hand. When the art doesn't work, the story does and vice versa. This issue isn't perfect but, it is a strong lead into the final issue which I have high hopes for. Viva La October, Viva La Cutter.

This issue is a notch up from the first one without a doubt . A failed and successful experiment in ways, a book that feels too long and too short. However, I can see these creators settling into a real stride that may turn into a fun, bumpy, twisty and turny run.

Goners is a compelling read, one that I’m nowhere near giving up on. But it shares flaws similar to the later seasons of TV show LOST, those being that as cool as the mysteries are, they’re frustrating too. I’m impressed with this creative team’s adherence to the tone and style that they’ve established with this book, it’s truly a spectacle of cross-genre fortitude but I hope we get some answers soon.

This isn't a review and this isn't really a comic you've ever seen something like before. I don't know how to be objective about this honestly. Ignore the score at the bottom of this page, it means nothing. It's either for you, or it isn't. It's avant garde, daring and haunting but also broken, weightless and flighty. It's up to you to decide.

This is a compelling, strong issue. However, it misses the mark on that authentic and genuine feeling that the first four issues had simply because its points are so in your face. This is a kind of bridge episode, one that serves as a means to an end it seems. If that end is the continuation of this amazing and detailed story, I’m okay with it.

There's some unbeliavable moments and the art isn't up to par with the Image books it looks like Dark Horse is going to use Pop to compete with but ultimately, this is a fun and engrossing read that will have me coming back for the other 3 issues.

Pop #2 perhaps "pops" less than the first issue as little happens and the social messages are a little blunt but, it's still a fun and interesting read that is entirely unique. Unique in a way that makes you ignore its shortcomings honestly. Besides, what other comic is doing DMT trips and genetically grown superstars on the run in a 90's tinged world? None other than Pop.

It's not the best that it could be, and you will see a lot of missed opportunities to make this something really, truly special but, Spread is finally becoming something more than the classic end of the world story for better or worse.

There is a great deal of mystery surrounding this book. Is it all real? It seems that it may be. But, knowing that it's real doesn't stop the questions, if anything, it raises more. For now, Sundowners is doing real, dark and damaged heroism in the right way.

This is a book that deserves reading if you want a decent, contained story in a world that seems a little too familiar. It's not a bad first issue, but it isn't a splendid one either. Fans of animals, british humor and aliens ala 80's scifi should check it out.

A strong Edward Grey book for sure, but possibly not the best Mignola book. Mysteries of Unland is a scary and special beast that holds water in the world of Mignola and establishes itself as an important part of the lively, complex, rich and deep mythology even if its ending did come a little too quickly.

This is a story that I can tell Perez desperatly wants to tell and I think he deserves too. That being said, he needs to reign it in. Hone it, give it some breathing space and let it work for itself because as it stands right now, this book is scraping by at average and Perez is capable of so much more.

It's always hard to judge a first issue, especially so, when it's one that relies heavily on establishing a mystery. Ultimately, you won't be blown away by Goners, and you may want to wait til the second or third issue to hop on, but there is a real potential here for a good story. It just needs to decide if it's here or there, not somewhere inbetween.

Get the Lobster was fun in a way, but I don’t see why it exists really. Johnson has been done better before this and creating a story about him that really isn’t about him at all just doesn’t work. If Mignola and others want us to care about Johnson or his effect on the Hellboy world, they need to show us compelling reasons why. This isn't it.

We're breaking through Spread's icy exterior but it still isn't warming up. It's definitely an above average book if you're a fan of postapocalyptic brutality but it isn't going to be much more than that if some things don't start happening soon.

Will this book eventually tread down the age old "batman is just as crazy as the joker" path or will it continue to distinguish itself as more of a focus on personhood and not herodom? This issue 1 isn't enough to decide but, if you're into the whole grim dark, gritty reality of what being a broken person who does good things could be, this book is worth your time at least.

I feel like, after reading this, that I get The Humans and I get what they're about. For life, till deth. But, I don't get WHY I'm supposed to care about them. Maybe that will come in issue two, I hope it does.

I'm dissapointed. If you want to see some clearly talented guys playing around with the revenge genre, read the first three issues of Cutter, because I really liked them. Then, make up your own ending. I can assure you you'll be more satisfied with that than this.