Gabriel Hernandez Comic Reviews

007 #1 is a strong start to a mystery surrounding a clandestine group intent on converting or killing 00 agents. The pacing, plotting, and dialog are all on point, and the mystery is well-developed. However, the art ranges from okay to sub-par, saved only by excellent colors.

007 #2 is a serviceable second issue in Johnsons latest take on 007. The story reveals a big threat worthy of Bonds talents, and the character development is excellent. However, most of the character development centers on a deceased character who has no bearing on Bonds actions moving forward.

007 #3 is an engaging entry in the series thats light on action and heavy on exposition. However, the exposition is potentially explosive for Bonds life. The pacing and dialog are delivered with tight drama, and the art is much improved over the previous issues.

007 #4 is a serviceable entry in the series filled with non-stop tension as James Bond is forced into a situation where he might kill his colleagues. That said, Bonds too-easy escape diffuses the tension, and the blocky, static art takes away from the frantic action.

007 #5 turns up the heat as James Bonds loyalties are put to the ultimate test. Johnsons script creates a moral dilemma that seems impossible to overcome and keeps you hooked until the last moment.

007 #6 ends the first Bond arc under Phillip Kennedy Johnson with a bang. The fighting is intense, and the ending satisfies with a new status quo and a surprise twist.

007: FOR KING AND COUNTRY #1 starts a new arc as a continuation of the previous arc where James Bond was all but beaten by the nefarious Myrmidon organization. Phillip Kennedy Johnson's writing is tighter and clearer, and a switch-up in the art team results in a visually-improved comic.

007: FOR KING AND COUNTRY #2 raises astronomical stakes, pitting the world's greatest spy against an enemy that appears to be in control of the entire world. The art and writing are gritty, dramatic, and cinematic in all the best ways.

007: FOR KING AND COUNTRY #3 elevates the story with an exceptional car chase, taut thrills, and clever storytelling. Phillip Kennedy Johnson is delivering one of the best Bond stories around.

007: FOR KING AND COUNTRY #4 delivers a tense, paranoia-filled issue designed to make James Bond (and the reader) second guess the intentions of everyone, effectively putting Bond on a razors edge. The potential for double-crosses will keep you on the edge of your seat, and the art is atmospheric.

007: FOR KING AND COUNTRY #5 sets Bonds plan in motion to bring down Fromm and Myrmidon for good in the penultimate issue. Johnson expertly builds an atmosphere of tense paranoia when everyone on Bonds team may be a traitor, and the art is slick and gritty.

007: FOR KING AND COUNTRY #6 brings the hard-hitting mini-series to a close when Bond stands alone against an army ready to take over the world. Johnsons finale strikes a pleasing balance between action and spycraft, and Avallones art is energetic.

13 SHOTS OF WHISKEY: BURNT ENDS #2 is an imaginative detective noir story that has all the ingredients for a solid thriller. The intricate plot shows time and effort were put into weaving a complex story about a town with a seedy underbelly. However, the plotting is too complicated and tries to do too much in the space allowed, so youll need to take notes if you want to keep track.

51 #1 sets a wild satirical stage with Area 51 drudgery exploding into leaks, but farcical humor fizzles too often to hook you fully, and the story basics stumble on with weak goals wrapped in solid art bursts. In a limited comic budget, it scrapes by for satire fans craving Mad Cave weirdness, yet most will find better time investments elsewhere.

78 MPH #1 is an excellent start to a post-apocalyptic sci-fi adventure. The premise is wholly original. The stakes and tension are cranked up to 11 almost immediately, and you can intuitively understand the motivations of every character with almost no introduction. The art lacks detail, but what the lines dont show is more than made up for with effective use of colors and shading to cast the new society in perpetual twilight.

78 MPH #2 is a humdinger of a second issue. The premise is already inventive, but the new developments here turn the world on its head. We cant wait to find out what happens next.

78 MPH #3 is a good ending to a highly imaginative sci-fi series. The art in this issue is the strongest yet, and the final moments end the series on a hopeful note. However, the story takes a few but large shortcuts from the first page to the last page, leaving you feeling like the creator rushed to get to the end when the story needed several more pages or a whole additional issue to end properly.

A FISTFUL OF PAIN is the strangest, kung-fu/dragon fusion revenge comic you never knew you needed in your life. The story entrances you with poetic pacing that almost feels like youre reading the story set to music, and the art bristles with a hip, cool cinematic style.

A. GUARDIAN #1 is a surprisingly rich start to a sword & sorcery fantasy story about a kingdom on the brink of war. The volume of information needed to flesh out the kingdoms and characters is presented in an entertaining, well-paced manner, and the art is excellent.

A.GUARDIAN #2 continues the tale of three kingdoms at war with an impressive volume of world- and character-building. However, the sheer volume of information leaves little room for visual action, and the pacing takes a big drop down in this issue.

A.GUARDIAN #3 expands the mythological world with history, mystery, and grand character development, elevated by excellent art. Unfortunately, the grand worlds development is dragged down by overwritten, tedious narration and dialog.

A HAUNTING ON MARS #1 begins a creepy sci-fi/horror mashup about a team sent to Mars for a secret mission. Chapmans character work, setup, and mystery construction are solid, and Ruairi Colemans art is excellent, but the transition from setup to Mars arrival is very jarring.

A HAUNTING ON MARS #2 transitions the miniseries from a foreboding space adventure to a classic haunted house tale with creepy imagery, jump scares, and mystery. Chapmans script amps up the traditional haunted house scares in a sci-fi setting, and Coleman successfully merges techno-gore with traditional haunted house imagery.

A KINGS VENGEANCE #1 offers a unique fable set in an unknown future where a King sacrifices everything to avenge his Queen and his son. The story is epic in scale and scope, delivered with expert efficiency. The creative art choices are incredibly unique, but the art style might take a little getting used to.

A KINGS VENGEANCE #2 is pure karmic carnage from beginning to end. The fights are devastatingly brutal, and you feel pulled along to revel in every second of the kings quest for revenge. This is the kind of comic where you cant wait to see what happens next.

A LEGACY OF VIOLENCE #1 is an effectively creepy mystery about a doctor who finds himself the target of a serial killers attention. The story is a slow burn, but the brief moments of shock are potent, and Bunn peppers in breadcrumbs about the mystery with precision.

A LEGACY OF VIOLENCE #2 is a super quick read that escalates the violence, the gore, and a palpable mood of dread. Part of the speed could be chalked up to scenes that linger a little too long, but if the point was to make you dread whats coming, this issue is a success.

A LEGACY OF VIOLENCE #3 continues Dr. Nick Shaws descent into paranoid anxiety when the serial killer appears to be taunting him at every turn. The atmosphere of tension and dread is thick enough to touch, but the plot barely moves at a snails pace, leaving little to hold onto thats memorable beyond a feeling of tension.

A LEGACY OF VIOLENCE #4 leans heavily on the gore and unsettling atmosphere to make you feel uncomfortable in all the right ways. however, the plot takes a very slow train to get anywhere, imposing a need for patience some readers may not be willing to give.

A LEGACY OF VIOLENCE #5 returns from a four-month hiatus to deliver answers, gory shocks, and incredible mood. Mutti's art is fantastic for this material, and Bunn's imagination for horror is unparalleled in comics. That said, the decompression is a killer (*ahem*) because Bunn is taking a very long time to take very short steps.

A LEGACY OF VIOLENCE #6 picks up the pace of the plot with chills, gore, and finally, some answers. Bunn's skill at delivering an atmosphere of dread is on-point, and Mutti's grimy art elevates Bunn's script considerably.

A LEGACY OF VIOLENCE #7 envelops readers with a disturbing air of dread and madness. However, Bunn is taking a very, very, very slow train to wherever this story is headed. Andrea Muttis art adds to the creepiness with filth, grime, and blood, so this comic looks uncomfortable and feels uncomfortable, but not much happens.

A LEGACY OF VIOLENCE #8 is a creepy, grotesque entry in the horror series that finally drops clues about a larger conspiracy. Bunns atmospheric writing and Muttis gory art hit all the right notes in each scene. Unfortunately, the badly needed momentum created by this issue is immediately squashed by news of a hiatus until 2024.

A LEGACY OF VIOLENCE #9 picks up the pace and escalates the gore for the last act of Cullen Bunns maxi-series. The grotesque atmosphere through Muttis art is as unsettling as ever, and Bunn certainly breathes urgency into the plot, but development with the supporting characters actions strains credibility.

A LEGACY OF VIOLENCE #10 marks a significant leap forward in terms of pacing and revelations. The story gains traction, and the pieces start falling into place. However, certain plot elements may come off as contrived, raising questions about character motivations. The stylized art, while effective, may not resonate with everyone. Nevertheless, the issue manages to deliver a dark and gripping narrative.

A LEGACY OF VIOLENCE #11 delivers pulse-pounding action and suspense, but its narrative shortcomings hinder its overall impact. While the issue sets the stage for an explosive finale, the series failure to provide satisfying answers to its central mysteries dampens the excitement.

A LEGACY OF VIOLENCE #12 concludes the series with a mix of closure and lingering questions. While the storys premise is intriguing, execution falls short due to pacing issues and underdeveloped or even nonsensical character moments.

A-MEN #1 is an odd collection of vignettes designed to mock, satirize, and insult a number of conservative public figures in the realms of politics, religion, and culture. The humor only works if you like to find humor in mocking people you hate. The art rarely rises above comic strip quality, but this appears to be a passion project, so bonus points for effort.

Absolute Batman #21 concludes the hero’s fist fight against the Robins, holds a funeral for a friend, and brings Bruce face-to-face with the Joker. Nick Dragotta’s monstrous art is on point, and Scott Snyder gives you plenty of dramatic moments, but the script lacks cohesion or a building sense of momentum toward some greater goal. The pieces are there, but they need more mixing and baking.

Absolute Batman #22 unveils the secret history of Absolute Harley Quinn with more than a few surprises to give her character life and purpose. Scott Snyder’s backstory is interesting enough, and guest artist Werther Dell’Edera’s artwork is a fine example of maintaining consistency with the series without copying the main artist. The central plot doesn’t move, but if you’re interested in Harley, this one’s for you.

Absolute Batman #23 sends Bruce spiraling out of control when he believes his entire life was orchestrated by Grimm and Scarecrow. Scott Snyder gives nearly every character a moment to develop, but showcasing everyone leads to a focus on no one. Still, Nick Dragotta’s bombastic artwork is almost worth the price of admission.

Absolute Catwoman #1 introduces readers to the history of Absolute Selina Kyle when an old acquaintance arrives, bringing trouble with her. The character and world-building are exceptionally thorough, and the art is darn good, but the uneven pacing kills momentum in the middle and the inciting incident begins much too late to hook you.

Absolute Green Arrow #3 continues the murder mystery surrounding a menagerie of terrible people who get killed at the drop of a hat. Pornsak Pichetshote’s script bizarrely writes a Green Arrow series that makes Dinah Lance the main character, and Rafael Albuquerque’s stylized art sometimes works, but not always.

Absolute Wonder Woman #21 says nothing and goes nowhere, other than to fill space with mild plot progression on multiple fronts. Kelly Thompsons issue feels like baby steps of movement toward some unknown destination, and Dillon Snook’s squiggly art undercuts what little potential there is.

Absolute Wonder Woman #22 resolves the last temptation of Barbara Minerva and concludes Diana’s rescue of Circe. This issue is one of Kelly Thompson’s strongest scripts, but the glory of what could be was severely undercut by inexcusably weak art.

ACTION COMICS #1021 is a well-written and well-paced skirmish between the super teams. The coloring takes top marks, but you may be lost if you haven't read the prior issue(s). This is a take or leave it recommendation.

AIN'T NO GRAVE #1 is a mesmerizing tale about a former gunslinger who sets out on a quest to save herself and her family. Mixing Western tropes with fantasy elements is nothing new, but Skottie Young intermingles the genres with heart, atmosphere, and whimsy. As a bonus, Jorge Corona's art is phenomenal.

AIN'T NO GRAVE #2 is another stellar issue in Skottie Young's Old West fable about a former outlaw on a quest to cheat Death. Skottie Young develops Ryder into a bad person with good albeit selfish intentions, and Jorge Corona's stylistically exaggerated art is outstanding.

AIN'T NO GRAVE #3 is another powerhouse issue in Skottie Young's eclectic Old West fable about a former outlaw on a quest to confront Death. Young's character- and world-building are nothing short of mesmerizing, and Jorge Corona's stylistic art elevates the surreal tone by magnitudes.

AIN'T NO GRAVE #4 delivers a wordless and emotionally powerful entry in the whimsical Old West fable by Skottie Young. Young's thought-provoking script will stick with you long after the reading, largely due to Jorge Corona's hard-hitting art. It's impossible to guess where this story is heading, but the finale promises to be a banger.

AIN'T NO GRAVE #5 brings the Old West fable about a retired outlaw on a quest to chest Death to a close with heartbreaking emotion, whimsical visuals, and a satisfying albeit tragic conclusion. Skottie Young deserves heaps of praise for this deeply emotional story, and Jorge Corona's artwork sings.

ALICE COOPER (VOL. 2) #1 is quick, engaging, and amusing. Rodney Barnes sets up the perfect scenario for Alice Cooper to do battle with the Devil, and Mennas art does more than its fair share of telling the jokes.

ALICE COOPER (VOL. 2) #2 somewhat resets the events of the first issue with a cleaner, clearer plot involving Lucifers plans to become the worlds greatest musical star, as long as he can destroy Alice Cooper. Barnes adds a little humor and a lot of stakes. Plus, it all comes together with rock-solid art.

ALICE COOPER (VOL. 2) #3 is brisk, snappy, and entertaining. Edu Mennas art captures the spirit of the famous rocker, and Barness script is solid. That said, Alices plan to defeat the devil is so predictable that its almost boilerplate.

ALICE COOPER (VOL. 2) #4 presents Alice Coopers greatest challenge with a music battle against Satan for his soul. Edu Mennas art is the best that could be expected in a dialog-heavy issue, but Barness script spends too much time on pointless conversations and a cliffhanger that doesnt make any sense.

In ALICE COOPER (VOL. 2) #5, the mediocrity that plagued the entire miniseries persists. The predictable premise, bizarrely nonsensical plot points, and clunky execution make for a lackluster reading experience. From concept to execution, the series fails to deliver a compelling narrative. Despite some cool elements like the magical guitar and cameos from iconic musicians, the overall mediocrity remains a disappointment.

ALL BLOSSOM ELECTRIC IN THE CITY OF BLACK MIRACLES exemplifies the arthouse indie experience in graphic novel form. The concepts are complex, the art is original, and the writing is mostly creative.

ALL GUTS, NO GLORY #1 takes the novel idea of government-sanctioned monster hunters to an intriguing place. Tedesco establishes the stakes and motivations with ease to give readers an underdog you can get behind almost immediately, and the art team shows off stellar art with plenty of gore.

ALL GUTS, NO GLORY #2 is a fun second chapter in the horror/action/romance mashup mini-series from Zenescope. The dialog and plot flow is incredibly organic and natural, the action is intense, the romance is surprisingly sweet, and the few jokey parts all land. If part 3 has the same level of quality, the entire run is a winner.

ALL GUTS, NO GLORY #3 is a memorable finale to a fun adventure that pays homage to the action/horror/comedy films of the 80s. The action is over-the-top fun, the characters are memorable, and the ending is satisfying while leaving the door open enough for a sequel or crossover with other Zenescope titles. This is a must-have for 80s horror fans that like a little black humor mixed in.

ALMOST DEAD #1 is a gorgeously rendered, structurally well-crafted start to a fairly standard zombie apocalypse story. The world- and character-building are excellent, but the story lacks a hook or unique twist to help it stand apart from other zombie stories.

ALMOST DEAD #2 returns from a lengthy hiatus to deliver an issue brimming with mysteries, tension, action, and intrigue. In isolation, this issue puts readers on the edge of their seats with great art to boot. However, Saras personality shift from issue #1 to issue #2 is bizarrely jarring.

Amazing Spider-Man #31 unveils the truth behind Peter Parker’s long-lost cousin. Unfortunately, the explanation is as unsatisfying as the setup. Patrick Gleason’s art makes the most of a wonky, frustrating script, but the character introduction of Cormac Crane is bad enough to almost qualify as Paul 2.0, and nobody wants that.

Amazing Spider-Man #33 confronts Peter with a new challenge to his relationship with Aunt May, while a new branch of Damage Control comes online. Joe Kelly’s mostly forgettable script at least gives Peter a new wrinkle in his personal life, and the issue is partly saved by excellent art.

Amazing Spider-Man #34 continues Peter’s lackluster struggle with his feelings over the arrival of a long-lost cousin, while Damage Control established a pre-emptive presence in NYC. Joe Kelly’s script has a few interesting beats, but there’s no sense of direction or momentum. The art team’s presentation is the only thing keeping this run moving.

If you prefer your comics quick, punchy, and drenched in both mood lighting and world-weary sarcasm, AMAZING UNIVERSE PRESENTS CYBERMANCY: HAUNTED mostly earns the price of entry. It's not blazing new trails, but it does its haunted tech-house hustle with enough swagger and sincerity to keep you entertained, provided you don't mind a few recycled riffs on the way to the drop.

AMAZING UNIVERSE PRESENTS ONYX AND REBELLE: BOOGEYMAN is a slick villain-centric teaser that sells you on Rex Ronan, Napalm's attitude problem, and Omen's myth more than it delivers an actual Onyx and Rebelle adventure. If you are specifically hunting for a snapshot of a new shared universe and like watching criminal masterminds panic enough to hire the boogeyman, then this functions as a polished proof-of-concept, but you should go in knowing you are paying for the promise, not the punchline.

AMERICAN DREAMS #1 is a unique take on the tried and true superhero origin story, set in the early 1900s and centered around the Jewish immigrant experience. The art is very good, the story has uniquely original elements, and the hero has potential. That said, the lettering placement is poor and the dialog sometimes came off like reading a history textbook.

AMERICAN MYTHOLOGY MONSTERS #1 gets high marks for telling tales about classic monsters with updated settings that give those legends a fresh coat of paint. Every short is satisfying, and the art is consistently excellent from every artist.

AMERICAN MYTHOLOGY MONSTERS (VOL. 2) #2 elevates run-of-the-mill horror anthologies by looking for strange, unusual takes on the classic monster motif. While one of the stories falls so far out of classic mosterdom that it doesnt qualify as a monster story at all, its entertaining nonetheless, and this anthology is a treat for anyone looking for high-concept horror.

AMERICAN PSYCHO #1 offers engaging mysteries, a gritty atmosphere, and brutal violence, aligning with expectations for a psycho-themed comic. However, the lack of clarity in the connection between timelines may leave readers perplexed, requiring a deep understanding of the film for full comprehension. The reliance on prior knowledge can be both an asset and a drawback.

ANIMAL CASTLE (VOL. 2) #1 begins the next volume in Xavier Dorison's take on Animal Farm, and the next stage of Miss B's revolution is a cinematic drama of the highest order. Dorison's script conveys a wealth of human emotion, while Delep's art captures every look with the grace of a master's painting.

ANIMAL CASTLE (VOL. 2) #2 slows down the plot to deal with the emotional consequences of leading a rebellion. Unlike most breather issues, Xavier Dorison pulls you into the story with thought-provoking insight about the rebellion to come and the heartbreaking consequences of the past.

ANIMAL CASTLE (VOL. 2) #3 continues to impress with a painful but inspiring tale of allies engaged in peaceful resistance against an oppressive dictator. Xavier Dorisons story expertly captures the human need to be free and the heavy cost that need requires, while Flix Deleps art is amazingly poignant.

ANOMALIES #5 escalates the tension and amps up the action when rival teams are baited to converge on one spot for an ambush. Eckers script pops with personality and a speedy pace, and Ron Williams Bronze Age style is top-notch.

ANTARCTICA #1 begins a heartfelt, sci-fi tale about a daughter determined to find her father when he didnt return from a mission in Antarctica. Simon Birkss character development is outstanding, and the last-page twist is a banger.

ANTARCTICA #2 cranks up the urgency, action, energy, and danger when Hannah escapes her doppelgangers armed assault teams. Birks crafts a gritty, fast-paced thriller, and Robertss grounded, realistic art has a cinematic feel, but the downside is the too-quick leaps in logic to explain whats happening without information.

ANTARCTICA #3 turns up the cat-and-mouse tension as Hannah is forced into the enemys lair. Robertss art is dramatic and moody, and Birkss plot keeps readers on the edge of their seats, but the plot developments may be too confusing for some readers to track.

ANTARCTICA #4 presents a fast-paced, riveting penultimate issue where the stakes and grand plan of Dr. Curtis finally come into focus. Birkss pacing will hook you, and Robertss cinematic art is outstanding.

ANTARCTICA #5 bristles with high-octane action and excellent art for a thrilling adventure to end the first arc. That said, the incomplete plot leaves too many gaps for the reader to fill in, making an already esoteric concept frustratingly confusing.

ANTARCTICA #6 slows down the pace and increases the mystery when the next volume focuses on what happened to Jerome Curtis. Birks plants multiple seeds of mystery to build curiosity, and Robertss art is excellent. That said, the momentum from the previous issue is all but gone, replaced by substantial confusion about whats happening.

ANTARCTICA #7 deepens the mystery of Jerome Curtiss experiment and throws a monkey wrench in the works. Birks creates an atmosphere and intrigue around Jerome Curtiss work, but there are too many missing details and too few clues to make sense of whats happening.

ANTARCTICA #8 has all the makings of a fantastic story: imaginative concepts, intriguing characters, and stunning art. However, the confusing narrative structure, missing information, and lack of direction prevent it from reaching its full potential. Its like finding a beautiful diamond buried deep in the rough it needs some serious polishing to truly shine.

ANTARCTICA #9 is a rollercoaster of action and suspense, beautifully illustrated by Willi Roberts. However, the confusing plot hinders the overall enjoyment. The lack of clear exposition leaves readers grappling with unanswered questions. While the visual elements shine, the narrative needs more coherence to fully engage the audience. Were hopeful that future issues will bring clarity to the overarching story.

ANTARCTICA #10 delivers thrilling action and intriguing concepts but falls short in terms of storytelling. With unresolved plot threads and a lack of closure, the series finale feels incomplete. Despite its visual appeal, the comic ultimately disappoints.

ANUBIS PROPHECY #1 is an intriguing fantasy tale about descendants of Anubis working to resurrect the Egyptian god and kill anyone who gets in their way. Misiuraks world- and character-building are excellent, and the art is serviceable.

ARCHER & ARMSTRONG FOREVER #1 is an odd comic to wrap your head around. The art is fantastic on every level, and the technical execution of the writing is practically flawless. That said, the characters have no reason to exist other than to be odd, and being odd is not much of a reason to hook the reader.

ARCHER & ARMSTRONG FOREVER #2 is a far superior issue compared to #1. The humor lands better through great comedic timing, pacing, and well-choreographed sight gags. If youre unsure about this series after issue #1, #2 may change your mind.

ARCHER & ARMSTRONG FOREVER #3 is filled with stellar art and oodles of imagination. However, the humor falls flat in several spots unless youre an A&A aficionado and get the in-joke, and references to past arcs dont make sense because there are no editors notes.

ARCHER & ARMSTRONG FOREVER #4 is one of the strongest issues in the series with spectacular art and a game-changing ending. If Valiant can build on this new status quo, this will become one of the best books in Valiants lineup.

ARCHIE X ARMY OF DARKNESS #1 demonstrates that great ingredients don't guarantee a great meal. A mashup with genuine conceptual appeal gets neutered by a structural decision that splits the book between party setup and extended backstory, leaving the actual crossover stranded in the flashback between them. You're paying for a Ash-meets-Archie collision and receiving a Stormy Dogs recruitment subplot instead. The opening promises something entertaining, but the comic spends its energy establishing that promise rather than delivering on it.

Archie X Army Of Darkness #2 delivers exactly what the title promises. The issue leans hard into fast moving horror comedy while letting Ash Williams crash into Riverdale with chainsaw confidence. The pacing runs hot and sometimes skips past deeper character beats, but the comic rarely stops being entertaining. Readers looking for a strange crossover that fully embraces its ridiculous premise will likely find plenty to enjoy here.

Archie x Army of Darkness #3 provides a high-value return for readers who want to see a professional, well-executed crossover that respects the source material. The issue masterfully balances the comedic potential of the Riverdale crew with the high stakes of a Deadite siege. If you enjoy horror-comedy that does not compromise on character logic, this is a solid addition to your monthly list.

THE ARGUS #1 is an intriguing, trippy story about time travel and what could happen when the wrong traveler goes rogue. The head-spinning details are handled well, and the action set pieces are well-done, but an odd inconsistency in the art contradicts a major part of the story.

THE ARGUS #2 is an entertaining yet flawed time-travel adventure. The art quality is top-notch. The pacing and dialog are all on point, and the cliffhanger will keep you guessing. However, the main villains ability to elude capture doesnt make sense, and the character designs dont match the story.

THE ARGUS #3 takes the time-traveling adventure to weird and esoteric places when Randall takes a trip into Time itself. The plot is imaginative, and the art is generally good, but the plot twists make a fragile plot significantly more confusing, and the art choices increase the confusion.

THE ARGUS #4 ends the time travel adventure with big action, characters leveling up, significant art improvements, and a satisfying conclusion.

ARMORCLADS #1 is a solid first issue for Valiants latest sci-fi entry. The piece parts from all your familiar favorite science-fiction properties are present for a bug-hunting good time. That said, the plethora of familiar elements makes this first issue feel a little too familiar, reducing the originality factor. However, the familiar elements are still enjoyable and made more so with impressive art.

ARMORCLADS #2 is a great-looking comic, especially considering the chaotic jungle conditions, but the plot of the story is riddled with inconsistencies and contrived events to force the team to assemble. Pick up this comic for the visuals, but lower your expectations for a story that makes sense.

ARMORCLADS #3 is an uneven issue with strong action and character acting but odd plot points that arent effective. The creators add some variety by adding a fantasy element to keep the story unique, but the plot is on shaky foundations.

ARMORCLADS #4 is the strongest issue of the series so far, possibly because it doesnt try to build complex drama or make sense of political maneuverings. This issue takes all the toys out of the toybox and goes to town with one big battle. Turn your brain off, sit back, and enjoy.

ARMORCLADS #5 is a strong conclusion to the arc that leaves the door open for more exploration of this universe. The action is big, loud, and eye-popping, and the conclusion is relatively satisfying.

THE ARMY OF DARKNESS VS. REANIMATOR: NECRONOMICON RISING #1 is a super-solid start to a horror adventure that blends two great horror franchises with a pitch-perfect hook. The art is great, the character voices sound authentic to the actors, and the setup feels like a faithful homage to the films.

ARMY OF DARKNESS VS. REANIMATOR: NECRONOMICON RISING #2 leans into the gorefest that made each issue so popular with its fans. The tone of the two plots fits naturally, and the plot builds plenty of curiosity to find out what happens when these two horror icons finally meet.

ARMY OF DARKNESS VS. REANIMATOR: NECRONOMICON RISING #3 is a genre-bending take on Ash and Dr. West that leans into sci-fi more than horror for the latest leg of this adventure. The characters voices and actions remain intact, so theres an intriguing novelty to this chapter.

THE ARMY OF DARKNESS VS REANIMATOR: NECRONOMICON RISING #4 is a witty, creative, and exposition-heavy issue with enough action and plot development to elevate the story above a standard setup issue. The art is pristine, albeit a little too clean for a gore comic, and the ending hits with a shocking surprise.

ARMY OF DARKNESS VS. REANIMATOR: NECRONOMICON RISING #5 ends the limited series on a high note with energetic action, fast-paced story progression, and a shameless-yet-satisfying amount of fan service.

ARMY OF DARKNESS 1979 #1 seamlessly blends two great film properties to give us the crossover we never knew we needed. The action is kinetic, the quips come fast, and to answer the main mans question YES, I DIG IT!!!

ARMY OF DARKNESS 1979 #2 captures the sights, sounds, and the spirit of 1970s NYC ala The Warriors (1979) as Ash and his new friends make their way through a gauntlet of gangs and Deadites. The writing succeeds in capturing the look and feel of 70s NYC and the Ash Williams character equally well. And the art practically pumps tough-guy swagger into every panel.

ARMY OF DARKNESS 1979 #3 continues to deftly merge the Army of Darkness and Walter Hills The Warriors into the most amusing mashup in comicdom. The character voices are outrageously perfect, placing Ash and the Deadites in The Warriors storyline works better than you can imagine, and the story continues to surprise you with humor, action, and surprises.

THE ARMY OF DARKNESS 1979 #4 gives readers plenty of backstory on the Necronomicon, a walk down memory lane of Ashs adventures, and a mildly amusing dance off gone wrong in the legendary Studio 54. The art team did a bang up job keeping the style consistent despite an artist change midway through, and the issue is okay overall, despite a lack of major story progress.

THE ARMY OF DARKNESS 1979 #5 concludes the run with supernatural battles in Central Park, turning tides, Yankees games, and Elvis appreciation talk(?). The story ends as weirdly wonderful as it began, although the story felt like it was in hurry up mode to get to the finish.

ARMY OF DARKNESS FOREVER #1 is a fun nostalgia trip back to the Army of Darkness film, but its a little too long because half the comic is simply retelling the same story. The other half inserts a time travel oopsie that doesnt make any sense, so the net result is a comic that relies on nostalgia in a convoluted mess.

ARMY OF DARKNESS FOREVER #2 delivers fresh storytelling material wrapped in a trippy collection of conflicting timelines that dont make much sense. Fleecss story reads better than issue #1, but its still confusing. However, the art is entertaining throughout.

ARMY OF DARKNESS FOREVER #3 brings the disparate timelines into slightly more focus when each of Ashs quests is made known. Individual moments are okay, even entertaining, but the Time Travel aspects are handled poorly for an occasionally interesting but largely confusing issue.

ARMY OF DARKNESS FOREVER #4 has a few cool moments and solid art, but the plot is growing more confusing by the page. The elements that make this mini-series fit within the Army Of Darkness story are present, but the multiple timelines conflict with each other, and the plot lacks focus.

ARMY OF DARKNESS FOREVER #5 offers intriguing moments, from Sheilas discovery to the future battles and the return to the iconic cabin. However, the convoluted plot and disconnected timelines hinder the overall enjoyment. We appreciate the homage to the 30th anniversary, but the narrative needs more coherence. If youre an Army of Darkness die-hard, it might be worth the read, but for those seeking a tightly woven story, the struggle is real.

ARMY OF DARKNESS FOREVER #6 shows promise with the emergence of interconnected timelines, providing a more cohesive narrative experience. However, the disjointed present storyline and unresolved plot elements detract from the overall enjoyment.

ARMY OF DARKNESS FOREVER #7 delivers thrilling action and intriguing developments, particularly in the past and future timelines. However, the disjointed 1993 timeline detracts from the overall coherence of the narrative. Despite the artist change, the quality remains steady.

ARMY OF DARKNESS FOREVER #8 sends Future Ash on a globe-trotting quest to assemble the Necronomicons in a fast-paced, action-packed issue. This issue is Tony Fleecs's tightest script yet, and Pop Mhan's art is solid.

Army Of Darkness Forever #10 brings the timelines and the Ashs together in a wild, gonzo fight with twists and surprises. Fleecs struggled in the earlier issues to make this series make sense, but this issue feels like the threads are converging into a proper finale, and Mhan's art earns points for pure action and energy alone.

ARMY OF DARKNESS FOREVER #11 draws closer to the end of the maxiseries with an all-out, nutso, gonzo melee battle in the fields of 1300 England. Tony Fleecs's story concept abandons any sense of continuity or reason in favor of non-stop action, which isn't necessarily a bad thing, and Pop Mhan's art gets the job done.

ARMY OF DARKNESS FOREVER #12 ends the maxiseries adventure with a gonzo battle in Medieval England. Tony Fleecs's script tossed out continuity and reason a while ago, but the over-the-top focus on action makes up for the lack of cohesion, and the art is perfectly serviceable for the story being told.

ASTRO QUANTUM #1 is competent space opera that leans into character conflict over cosmic spectacle, which is a smart call. The Ishmael and Que-Keg dynamic has genuine potential, and the underlying world of energy monopolies and slave labor feels grounded enough to sustain a series. However, the issue is bogged down by exposition delivery and secondary characters who lack memorable identity. It's a solid foundation that justifies a second issue.

ASTROBOTS #1 regalesreaders with a richly detailed space colony built by robots on the brink of civil war. Furmans script captures the essence of a robot utopia on a world that feels futuristic and lived in, while Hector Trunnecs gloriously detailed art is sumptuous.That said, the excellent world-building doesnt make up for the lack of aclear,concise hoo

AT LAST THE LIGHT (ONE-SHOT) is nearly a perfect ghost story to give you the chills in front of a roaring campfire. The mood is gloomy, the action is urgent, and the writing sticks the landing on the finale. This is a highly recommended pick if you like Victorian-era ghost stories.

ATHENA: GODDESS OF THUNDER #1 is the work of creators who understand the pieces of superhero storytelling but haven't yet learned how to put them together in a way that makes you feel something beyond "okay, I see what you're doing here. This is a first issue that knows where it wants to go but hasn't figured out how to make the journey as compelling as it could be. Whether this team has the guts and growth potential to fix these problems in issue two remains to be seen, but we'll be watching.

ATHENA: THE UNDYING (ONE-SHOT) takes the concept of royal vampires and drops straight into a fantasy world with robots and dinosaurs. The concepts are highly original, the acting and dialog are well done, and the character designs are fairly unique. That said, the pencils/inks hit a quality bump about midway through to throw the enjoyment factor off.

ATOM: THE BEGINNING (VOL. 1) is a must-have volume for Manga fans, especially Astro Boy fans. The action is intense, the mysteries are intriguing, and oodles of heart permeate every page.

ATOM: THE BEGINNING (VOL. 2) is the robot action/adventure with a heart you need to have in your life right now. Six is the robot with a kind heart that serves as the perfect underdog to get the readers on his side, and the action-packed robot battles are awesome.

ATOM: THE BEGINNING (VOL. 3) delivers another rock em, sock em action fest with robot fights, kidnappers, car chases, and exploding islands. That said, the pacing drags through the middle with overlong debates about AI, but once the action kicks in, the issue ends on a high note.

ATOM: THE BEGINNING (VOL. 4) delivers a big battle up front and delves into the theoretical concepts behind A.I. evolution for the majority of the volume. While the theoretical robotics debates are interesting for readers into science and tech, readers looking for some action may wind up tuning out.

ATOM: THE BEGINNING (VOL. 5) swells with robot action, heart, charm, and excitement. The introduction of U-Ran as Sixs little sister challenges both characters in new and exciting ways, resulting in a thoroughly entertaining and sometimes thought-provoking volume.

ATOM: THE BEGINNING (VOL. 6) is a thrilling robot battle royale of epic proportions. U-ran proves shes (almost) the greatest robot around, and the action-packed art sings.

ATOM: THE BEGINNING (VOL. 7) concludethe first robot fighting tournament with wild action, thought-provoking ideas about science and philosophy, and the nextstage of discoveryfor Tenma and Hiroshi. Tetsuro Kasaharas ability to portray drama and emotion through faceless robots is impressive, and the scientific deep dives into Artificial Intelligence are thought-provoking.

AUGUST: PURGATORY UNDERGROUND #1 is a crisp, efficient start to a sci-fi-themed war story with great art, great dialog, expert pacing, and a pitch-perfect plot.

AUGUST: PURGATORY UNDERGROUND #2 successfully merges the best of sci-fi action/adventure storytelling with the best of Bronze Age comic art. The plotting, pacing, and dialog are all excellent, and the art is practically perfect.

AUGUST: PURGATORY UNDERGROUND #3 is a dramatic, action-packed issue with high stakes and a classical blueprint for a heros journey. The pacing, dialog, and action are excellent, and the art exemplifies classical hero comics from the Bronze Age.

AUGUST: PURGATORY UNDERGROUND #4 ends the arc with a bare-fisted, no-holds-barred fight between August and Barren Siegan. The less is more approach to storytelling works when set up properly, and Morse sticks the landing in this epic sci-fi adventure.

AVALON #1 is a creepy, effective story about the early onset of a zombie plague. The pacing, plotting, and atmosphere are dead-on, and the art nails the sense of quiet foreboding as events spiral out of control just beneath the surface.

AVALON #2 shifts from encroaching dread to outright panic as the infection spreads, one bite at a time. The writers nailed the claustrophobic sense of fear when the Castle family realizes they have to run, and the super-detailed art captures every look of shock and horror perfectly.

Avengers: Armageddon #1 assembles a new-ish team (against the wishes of the United Nations) to stop the Red Hulk from taking over the world. Chip Zdarsky’s story construction is adequate, and the art team makes the most of an all-dialogue issue. That said, there’s no surprise, no originality, and it feels like we’re replaying One World Under Doom all over again. That’s not a positive.

Avengers: Armageddon #2 brings the big battles as the Avengers confront Red Hulk. Chip Zdarsky’s script is well-paced, and the art team’s output is phenomenal. That said, the plot developments are so superficial, the issue leans toward forgettable.

AZZA THE BARBED #1 is an exceptionally strong start to a magical story about isolation caused by being different. The pacing, plot, and dialog are excellent, and the art suits the material well. As a bonus, the cliffhanger sets the stage for an impossible-to-guess outcome.

BAD NATURES #2 is filled with creative ideas and imaginative concepts, sometimes at the expense of clarity. The pacing and dialog are very good, and the arts on par for an indie title.

BAD OMENS: CONCRETE JUNGLE #1 is a wild mix of cyberpunk, manga, and a classic gang rivalry. The concept is intriguing, but the missing why makes it hard to fully get hooked. The arts the real star not groundbreaking, but the quirky details make it stand out.

BANSHEES #1 is a promising start to a modern horror tale about a troubled freshman who starts her college year in a dorm with a history of gruesome murders. The urban legend elements, disturbing nightmares, and the main characters nightmares all combine for a chilling start. That said, the only thing holding this issue back is weak art.

BARBARELLA (VOL. 2) #1 is a sincere, engaging start to the next chapter in the Hero of Love's legend. The writing is rock solid, and the art is exquisite.

BARBARELLA (VOL. 2) #2 continues the adventures of the futures greatest liaison of love with smart, sharp writing and captivating art. The smoothness and clarity of the storytelling hit a few, small bumps that bring the rating down a bit compared to the first issue, but the net result is still one of the best titles Dynamite has on the market.

BARBARELLA (VOL. 2) #3 contains the best character- and artwork youll find anywhere. This months adventure brings the titular character one step closer to confronting the mysterious big bad, and the story is full of surprises. That said, some of the surprises are either poorly explained or not explained at all, making for an uneven reading experience.

BARBARELLA (VOL. 2) #4 strikes the right balance between whimsy and camp to produce another solid entry about the space warrior who saves lives with the power of love. The plot tells a self-contained story while slightly hinting at an overall arc, but the arc could use a little more forward progress. Once again, the art in this series is simply stunning.

BARBARELLA (VOL. 2) #5 wraps up the mystery about a potential traitor, opens the door for much bigger players to enter the fight, and perhaps adds a new ally to Barbarellas team. While all the components are there for a great issue, Barbarellas characterization feels off and lacks the spark which made the first issues so intriguing. However, this is still the most gorgeous comic youll find on the market today.

BARBARELLA (VOL. 2) #6 hits the PAUSE button on the main plot of the volume to build out the character of Vix. Side stories can be hit or miss, but Hoyt pulls this one off with charm, humor, and subverts expectations to successfully give the entire relationship between Barbarella and Vix double meaning. The art duties have changed, and while the output is not as impressive, its fine work for an entertaining issue overall.

BARBARELLA (VOL. 2) #7 is a simpler but still excellent entry in the series with astoundingly gorgeous art, progress on the plot that reveals more about the Ladys origins, and dinosaurs! This issue is one of the better issues in the series and worth the cover price.

BARBARELLA (VOL. 2) #8 is a spectacularly beautiful issue with an admittedly wonky story. While the wonkiest parts have some amusement factor, the pieces dont make much sense when put together. If youre a fan of this series, theres nothing off enough about this issue to turn you away, but this issue is one of the weaker story entries.

BARBARELLA (VOL. 2) #9 is a serviceable issue to set up the finale. Theres plenty of exposition to define how the Lady thinks, and readers get a small tease about why the Lady hates Barbarella, but theres not much momentum going into the finale. Its all setup. However, the art is gorgeous and this entire run contains some of the best-looking art around.

BARBARELLA (VOL. 2) #10 is a solid-albeit-flawed end to the arc about the galaxys greatest lover and fighter for peace and justice. The art is immaculate, the action is exciting, all the blanks are filled in, and the ending concludes the arc cleanly. That said, the panel progression, in a few spots, was poorly executed, and the big reveal behind the Ladys motivation is paper-thin.

BARBARELLA: THE CENTER CANNOT HOLD #1 begins Barbarellas next leg of her quest to end a cataclysmic war before it starts. Hoyt brings newer readers up to speed while peppering in adventure and new developments for seasoned readers. That said, theres a lot of exposition to get through, the tone has grown dramatically campier, and the art, good as it is, doesnt match the art quality from the previous arc.

BARBARELLA: THE CENTER CANNOT HOLD #2 shifts away from the surreal nuttiness of issue #1 into an introduction of a disparate group of rebels facing a monstrous threat. The story fills in many blanks concerning the Architects, and the artwork is excellent.

BARBARELLA: THE CENTER CANNOT HOLD #3 swerves (again) away from the heavy talk of genocide and slavery in the second issue to a roaring space adventure in issue #3. The action is thrilling, the dialog is peppy, and the plot developments are imaginative. Overall, this issue is a solid space adventure in a strangely inconsistent arc.

BARBARELLA: THE CENTER CANNOT HOLD #4 brings Barbarella and her friends to the doorstep of the Unnameable for a confrontation you won't see coming. The story is imaginative, and the art looks great, so if you like sci-fi that isn't afraid to get weird, you're in for a good time.

BARBARELLA: THE CENTER CANNOT HOLD #5 brings the latest series to a close with a desperate plan to stop the Architects. The ending is a bit anticlimactic but consistent with Barberallas way of doing things, and the art is outstanding.

Batman #12 introduces the world to Alfred’s replacement – Verity Pennyworth. Matt Fraction’s script gives the latest addition to the Bat-family a strong start, and Jorge Jimenez’s art is some of the best at DC. That said, everything about the comic, outside of Verity’s introduction, is tired and flat.

BATTLECATS: TALES OF VALDERIA #3, available from Mad Cave Studios on June 10th, is a strong setup issue for future tales. The artwork is gorgeous and the depth of history is impressive. If Mad Cave keeps turning out books with this level of quality, I'll be sticking with this series for a long time.

BATTLE CHASERS #10 forces Garrision and Red Monika to run for their lives from a squad of deadly hunters for a nail-biter of an issue. The story delivers heaps of action laced with dramatic nuance and tension. As a bonus, Lullabi's art is phenomenal.

BATTLE CHASERS #11 gives fans of action/adventure everything they want in a comic dangerous beasts, epic battles, gritty drama, powerful emotion, amazing art, and jaw-dropping surprises. This issue is a winner.

BATTLE CHASERS #12 gives you everything you want in an action/fantasy game adaptation with big fights, dramatic tension, plot progression, stakes, and character development. Madureiras script is all the more impressive for the number of subplots that get equal time to shine, and Lulabis art is exquisite.

BATTLE CODE: RAGNARK is a unique and surprisingly entrtaining Viking tale with a sci-fi twist. Adrian Liputs sentral premise and plot are have a sharp wit to get you invested in the characters, and Goyos sylized art has an eclectic vibe. That said, the script tries to do too much all at once, and the art is an acquired atste.

BATTLECATS (VOL. 3) #1 drops readers right into the heart of drama and action in a story filled with complex emotions and noble intentions. The art is some of the best Mad Cave has to offer, and the ending promises an epic journey to come.

BATTLECATS (VOL. 3) #2 is a fine example of world- and character-building with rich backstories. The art is some of the best Mad Cave is putting out, and the setup promises big things for what comes next.

BATTLECATS (VOL. 3) #3 is nuanced, complex, mature, emotional storytelling. The character designs and battles are excellent, the characters interactions are relatably human, and the plot progression builds on the story in meaningful ways for a truly epic story. This is one of the best Mad Cave titles out right now, and one of the best among many publishers as well.

BATTLECATS (VOL. 3) #4 takes the defeat and grief from the last volume and turns it around to ignite a spark of optimism that evil will be defeated. London wisely pares down the plethora of threads to give the story more room to focus and breathe, and the art is simply the best of everything Mad Cave is offering right now.

BATTLECATS (VOL. 3) #5 is a great example of an issue that plants seeds to build anticipation for big changes in the near future. The story beats, pacing, and emotional plot points are all excellent. The art builds on the emotion of the writing and pulls off gritty, bare-knuckled action. Theres a lot to like in this dramatic and mature chapter in the volume.

BATTLECATS (VOL.3) #6 isnt a deep, psychological, thought-provoking issue, but its oh so satisfying because the bad guy has earned his beating, and this issue delivers. Londons writing makes sure the players are right where they need to be with just enough explanation to make the impossible gathering make sense. And, Camelo and Tekino leave all their artistic talents on the field of battle. This was a great issue.

BATTLECATS (VOL. 3) #7 is an exemplary ending for an exemplary run. The battle is epic in scale but gives each Battlecat a moment to shine. The battles conclusion is filled with revelations and emotional, as well as physical, conflict. And, the bittersweet ending provides all the good feelings you could want in the last goodbye.

BEASTO BLANCO: SPACEWAVE CONQUEST (ONE-SHOT) is the type of gimmick comic most bands can only dream of getting. The writing is clever and amusing, the action is fast-paced and exciting, and the conclusion highlights the bands talents while using music in a way that makes sense to save the day.

BECSTAR #1, available from Mad Cave Studios on May 5th, 2021 (pre-order on February 24th), expertly introduces a cavalcade of characters for a new space pirate adventure. The writing is well-paced and fleshes out new characters quickly to get readers right into the story. The art is good but lacks dramatic punch. I would recommend you give this book a try.

BECSTAR #2 has a plethora of action, emotion, and plot development. Unfortunately, the cartoonish art detracts from the drama and overall impact of the story.

BECSTAR #3 started off with space adventure promise but the central plot is showing unavoidable flaws. When you add on stylized art that doesn't suit the story, this title is starting to wear out its welcome.

BECSTAR #4 has some fun action and tense space battles that will satisfy fans of the series. While some of the sizable plot holes arent addressed (and perhaps never will be), the setup at the end promises a big showdown to cap the series.

BECSTAR #5 caps an original arc that showed a lot of initial promise, but persistent plot holes and a confusing ending put a damper on any potential. The rough ending combined with the mismatched art makes this a not recommended issue and series.

BEDTIME STORIES FOR IMPRESSIONABLE CHILDREN #1 is exactly that, a collection of odd and amusing stories for kids of all ages. The writing and art styles vary wildly from entry to entry, but they all possess a unique charm that makes this a wholesome read with a hint (a very small hint) of horror for the Halloween season.

BLIT & VALERIA #1 is an unexpected take on the titular characters, based on Robert E. Howards works. The story feels like a typical Sword & Sorcery adventure, but the personalities are unusual. The art is excellent, and the art team injects plenty of personality into the characters to keep the readers engaged, even if the characters seem slightly out of place for the setting and the source material.

BELIT & VALERIA #2 is another odd entry in the series with fantastic art and an interesting central premise. Unfortunately, the comic suffers from tedious narration, lettering problems, and a wildly inconsistent tone.

BLIT & VALERIA #3 is almost an impossible book to recommend. The character designs are interesting, and the color pops, but the vast majority of the writing is nonsensical gibberish.

BLIT & VALERIA #4 is a mild improvement over the previous issue with amazing art and substantial progress on the plot that increases the stakes considerably. That said, the biggest flaw that verges on catastrophic is the writing. If you ignore the words, this comic is decent.

BELIT & VALERIA #5 brings the current conflict with Borg to a close with eye-popping art and a brisk reading pace. However, Bemiss dialog and narration are often bloated, chaotic ramblings that attempt to sound like witty prose but end up like flowery nonsense.

BELLE: ANCIENT INSTINCTS takes a break from the Year of Lovecraft with an oversized-yet-standard monster-hunting story sending Belle off against the first werewolf. Theres plenty of action and more than plenty of Belles trademark chattiness, but theres a little too much fluff padding out a standard monster-hunting issue.

BELLE ANNUAL #25 tells you (almost) everything you ever wanted to know about Belles lineage, her friends, and her family during a deadly hunt hosted by the god Artemis. Readers get plenty of information and plenty of action but the creators may have bitten off more than they can chew by trying to tackle too much story all at once. The annual looks, great despite a cadre of artists working on the book, and the issue finishes with a serviceable ending.

BELLE ANNUAL: APEX PREDATOR brings war to the city of Philadelphia when Belle and Apex have it out for the last time. Franchini delivers a script with wall-to-wall action, and the art team puts in the work to present a seamless, action-packed annual.

BELLE: CURSED takes Belle on a walk down memory lane to fight beasts from her past that got away. Franchinis memory refresher serves as an effective reminder of her past adventures, leading to a setup for a greater challenge, and the art team delivers a perfectly suitable house style.

BELLE: DEEP FREEZE ruins Belles Thanksgiving Dinner (in the best way) with a thrilling, action-packed, visually exciting rematch between Belle and the Winter Maiden. The central premise, plotting, and pacing are fantastic, barring the excessive inner monologue from the main character, and the art is gorgeous.

BELLE ANNUAL: DEPTHS OF TARTARUS brings Belles year-long adventure to free her mother from Hell to a close. The art is excellent, and Belles emotionally-charged moments with her mother are powerful. However, Belle sometimes feels like a lesser player in a larger drama between the gods, and the overall comic lacks big wow moments.

BELLE: DRAGON CLAN is the type of all-out brawling action so sorely missed from the modern crop of action comics. The art is solid, the pacing is brisk, and this issue successfully executes on telling part of the story through the fight. If these one-shots can pick up the pace on Belle finding herself and her inner confidence, this will become a top-notch collection.

BELLE: FROM BEYOND ticks all the right boxes for a predictably solid Belle adventure that seamlessly blends the Zenescope universe with Lovecraftian lore. The monster designs are creative, the action is well done, and the art looks great.

BELLE: HEADLESS HORSEMAN put Belle to the test by forcing her to use her mind over her muscle. The action is power-packed and the conclusion opens the door for more conflict with a coven of ditzy witches, but the exposition gets ponderously heavy in the third act. Otherwise, this is a great treat for the Halloween season.

BELLE: HOUSE OF GLASS SLIPPERS marks the first meeting between Belle and Cinderella in a thinly veiled excuse to fight a bunch of malicious fairy folk. The issue is technically a Cinderella story with Belle on the side, but if you like both characters, youll get plenty. That said, Franchini turns Cinderellas obnoxious dial up to 11, so plan your purchase accordingly.

BELLE: HUNT OF THE CENTAURS is an entertaining side quest that builds out Belles world, develops Centaur culture, and foretells things to come. The art is excellent, and the story holds your attention, but the narration can be excessive at times.

BELLE: KILL ZONE is a mixed bag of cool ideas and cool scenes, but too much of the story is left out to get it to fit in the number of pages allowed, and the art is wildly inconsistent. This is a great one-shot if youre only focused on the setup for future potential, but as a stand-alone offering, this is not one of Zenescopes better offerings.

BELLE: KING OF SERPENTS, available from Zenescope Entertainment on April 28th, 2021, is a straightforward and satisfying chapter in the Belle canon. Despite the monster-of-the-month motif and a fairly predictable ending, this was a fun popcorn issue.

BELLE: LABYRINTH is a standard adventure with standard action and a standard outcome that moves the larger arc forward a step or two. The technical execution is solid, but the issue lacks drama or stakes.

BELLE: QUEEN OF SERPENTS picks up after a previous adventure against the Serpent King, forcing Belle to fight for her life and to wrestle with a moral dilemma. When heroes are faced with challenges that have no easy answers, thats the heart of good storytelling and drama. The excellent writing is paired with very good art to make for an extremely solid one-shot.

BELLE: RETURN OF SCYLLA is a solid story with tons of action. The plot leans into Greek mythology with interesting Easter EGgs and cameos, and the art is rife with energy. That said, the non-stopper chatter from the main character slows the pacing to a crawl and is almost bad enough to be a deal breaker for finishing this book.

BELLE: SCREAM OF THE BANSHEE gives readers a dead-solid monster story as Belle hunts a mythic creature. Surprisingly, the star of the issue is the Banshee who serves as a tragic figure with a dramatic backstory. The art is great, and the story will stick with you as an above-average setup for things to come.

BELLE: SHADOW OF THE ROSE sends Belle on an adventure to save her brother and defeat a generations-old evil. Dave Franchini's script ends on a high note by giving the lead character a new status quo, but the double-sized issue suffers from too much fluff to pad out the page count.

BELLE: SIRENS is filled with great art and pulse-poundings action but there are so many details left out of the story that it feels like action pieces stringed together without any connective tissue to tell a complete story.,

BELLE: THE SHAPE OF FEAR adds fresh realms to explore for the perennial beast hunter with surreal landscapes, nightmarish monsters, and a whole lot of talking (naturally). That said, this issue falls short of satisfying because it asks more questions than it answers.

BELLE: THUNDER OF GODS, available from Zenescope Entertainment on March 24th, 2021, is a tried and true action story from one of Zenescope's beloved heroes. The art is great, the story makes sense within Belle's world of Beasts, and as long as you pay attention to the time jumps, this is an entertaining issue.

BELLE: WAR OF THE GIANTS furthers Belles adventures into uncharted areas while taking last weeks middling Jack & Jill introduction and improving on it. Franchini impresses by filling in a tremendous amount of backstory naturally and seamlessly blending two titles into an original adventure. The issue is elevated by fantastic visuals from the art team.

Ben 10 #4 sends Ben, Gwen, and Max to the circus for a good time, but Zombozo promises anything but. Steven T. Seagle’s script has echoes of the cartoon, but it’s too rushed and too unlikable. Plus, the art team’s output is solid, albeit inconsistent.

BEN MORTARA AND THE THIEVES OF THE GOLDEN TABLE #1 is a solid start to an Indiana Jones-styled adventure under Source Points new Maggid Comics imprint, spotlighting Jewish stories from Jewish creators. The adventure feels Biblical (literally) and the pacing is brisk, but a few flaws in the character introductions and actions bring the score down.

BETTIE PAGE #1 captures the vibe and charm of a classic hijinks film from the Golden Age of Hollywood. Andolfo and Blengino nail Bettie's personality, and the plot is mysterious but light enough to be fun.

BETTIE PAGE #1 is a charming, silly, baudy start to an imaginary tale in the life of the seminal pinup queen. The writing is lighthearted fun, and the art flows with the tropical breezes. This is a great choice for Bettie Page fans of all ages.

BETTIE PAGE (Vol. 4) #5, available from Dynamite Comics on January 27th, 2021, caps the current run by solving all the mysteries (that were already solved) in Bettie's signature style. The story is ridiculous in a clever way and the art projects that classic Hollywood feel. If you're a fan of classic comedies, Bettie Page, or just some silly fun, this is a recommendation.

BETTIE PAGE #2 stops a brief kidnapping attempt and frees the gang to begin a lengthy series of montage flashbacks to explain everything happening. Normally, all-exposition issues are a downer, but the backstory is interesting, and the way its presented is visually fun, so this issue is a keeper.

BETTIE PAGE (VOL. 6) #3 brings Bettie Page and Lisa Cosmi closer to reuniting the unlikely love birds or playing out a Shakespearean tragedy with a lighthearted, amusing comedy of mobster hijinks. The story and tone capture the best of Golden Age Hollywood films, and the art is a perfect complement to the story.

BETTIE PAGE (VOL. 6) #4 brings the Italian adventure to a close when Bettie narrowly escapes death and hatches a plan to save two lovers before their families kill each other. The fun, zany Golden Age of Hollywood-inspired adventure is sunny fun on a dreary day, and the art is a perfect match for the storys atmosphere.

BETTIE PAGE: THE ALIEN AGENDA #1 is a light, fun, smart take on the worlds most (in)famous photo model and secret agent. Ani-Mias character work for this version of Bettie is spot on, the story is smart yet believable, and Celors art is astronomically better than what weve seen from him in the past. This is an excellent start.

BETTIE PAGE: THE ALIEN AGENDA #2 is a solid entry in the series that accomplishes a lot and incorporates fun challenges for Bettie Page to overcome. That said, theres more story than pages and some of the scenes felt rushed.

BETTIE PAGE: THE ALIEN AGENDA #3 is a fine issue in the series with cool challenges, interesting use of mythology in a modern context, and much better pacing than issue #2. That said, there were a few scene switches lacking setup or transition, and the art fell short in depicting the intricacies of the traps.

BETTIE PAGE: THE ALIEN AGENDA #4 is a fine entry in the series, with decent art, much-improved pacing, a little bit of fun in the sun, and a brain teaser to keep you occupied until the next issue. The light fun lacks tension in both the writing and art, but its still a pleasant read.

BETTIE PAGE: THE ALIEN AGENDA #5 is a pleasant and hopeful end to Betties alien-chasing adventure. The art is the strongest weve seen from Celor, and Ani-Mia incorporates a clever twist into the reveal. However, the issue is almost all talking and very little visual storytelling, so the pacing and energy are lacking.

BETTIE PAGE: THE CURSE OF THE BANSHEE #1 is the smart, fun, sassier version of The X-Files starring America's favorite pin-up. The writing, particularly the sharp, witty banter, is excellent, and the art is clean and slick. This is not your grandpa's Bettie Page story, but it 1,000% works.

BETTIE PAGE: CURSE OF THE BANSHEE #2 takes readers on a wild ride with monsters, rumbles, and secret caves. Despite the lack of anything that feels like a Bettie Page comic, this was a fun read.

BETTIE PAGE: CURSE OF THE BANSHEE #3 is filled with chills, spills, and thrills. The art is excellent, and the story holds your attention, but the only thing lacking in this Bettie Page comic is Bettie Page.

BETTIE PAGE: CURSE OF THE BANSHEE #4 is a proper horror comic reminiscent of the drive-in spooky films of the 1950s. However, the plot in this issue is paper-thin, making almost no progress on the arc, and theres nothing particularly Bettie Page-like about the main character.

BETTIE PAGE: CURSE OF THE BANSHEE #5 is a proper end to an authentic homage to 50s Drive-In monster movies. The art is phenomenal, and the arc ends with a mostly satisfying conclusion. That said, some of the action happens off-panel, so the ending is not as satisfying as it could have been.

BEWARE THE WITCHS SHADOW: NIGHT FRIGHTS #1 is a sometimes amusing, sometimes unsettling collection of shorts exploring horrific consequences for individuals who have bad habits or bad behavior. Not all the stories are equally memorable, but they all have something to say, give you something interesting to read, and entertain you for a spell.

BEWARE THE WITCHS SHADOW: WINTER SPECIAL is a sometimes humorous, sometimes soulful, and frequently enjoyable horror anthology. Each short has a strong emotional theme that offers something for a wide range of tastes, the variety of art styles pair well with their respective shorts, and the endings are largely satisfying.

BEYOND THE BEYOND #1 is a gorgeous and astounding first issue in the latest space mystery from Scout. The setup achieves just the right amount of mystery to grab your attention, the main character is instantly likable, and the art is pristine.

BEYOND THE FARTHEST STAR CHRONICLES #1 is a wonderful adaptation of a classic writers work. If youre an ERB fan, this is a must-have. If youre a fan of classic space pulp adventure, this is a must-have. And, if youre a fan of legendary comics creators like Wolfman, Chaykin, and Green this is a must-have.

BEYOND THE FARTHEST STAR: WARRIORS OF ZANDAR #1 is a pristine example of taking classic science fiction stories and building on them to bring readers something both fresh and familiar. The action sequences are great. The alien designs are creative. And the writing drops readers right in the middle of the adventure with a minimal amount of confusion or exposition.

BEYOND THE FARTHEST STAR: WARRIORS OF ZANDAR #2 is an entertaining mix of brains, brawn, and pulpy sci-fi action. The writing hits a perfect sweet spot for classic serial adventure lovers. The callbacks to classic Edgar Rice Burroughs stories organically fit the material and even builds on them. And the art is chock full of imaginative creature designs and fast, powerful action.

BEYOND THE FARTHEST STAR: WARRIORS OF ZANDAR #3 is a fast-paced, action-packed, meaty entry in the mini-series. Wolfers writing remains true to the ERB source material while providing a fun action/adventure. Ranaldi, Hesli, and Jane are turning out pristine work with designs and sets that capture the alien spirit of the material while injecting the script with adrenaline-fueled action.

BEYOND THE FARTHEST STAR: WARRIORS OF ZANDAR #4 is a strong finale to a classic sci-fi adventure. Wolfers writing steps on the gas and doesnt let up with high-energy pacing, solid dialog, plenty of actions, and perfect resolution to the conflict. The art is largely gorgeous. thanks to Heslis expert coloring.

BIG BANG ADVENTURES #21 is the Bronze Age-styled superhero comic youve been missing in your life. The adventure is packed with action, surprises, and drama, and the art is top-notch.

BIG BANG ADVENTURES #22 brings the last Whiz Kids adventure to a close with a massive battle to stop an evil wizard from obtaining the Holy Grail. The energy and heroics pack every square inch of this comic, and the art is very good, but the material is super dense, and the coloring might put a strain on your eyes.

BIG BANG ADVENTURES #23 gives readers that classic, Bronze Age, superhero action comic youve been missing with fantastic art, striking character designs, imaginative battles, and plenty of emotion. That said, Ultragirls personality makes a jarring shift from the first half to the second half in a comic where the plot makes a jarring shift from the first to the second half.

BIG BANG ADVENTURES #24 is a gem among indie submissions, especially for superhero fans. Its a fun, action-packed read with a classic feel and a hint of something more brewing.

BIG BANG ADVENTURES #35 is an earnest effort at blending mythological and cosmic horror that lands its thematic hook more effectively than it executes its action. You're getting decent superhero spectacle here, a goddess versus a Lovecraftian monster, solid artwork that captures momentum, and a genuinely interesting message about love's power against nihilism. The problem is that the execution feels rushed and the battle itself lacks the weight that a confrontation of this magnitude should carry. The flashback exposition dumps hard and the resolution, while conceptually cool, doesn't feel emotionally justified through the storytelling.

Big Bang Adventures #37 finds Knight Watchman crossing the uncrossable line, turning all of Midway City against him. Gary Carlson and MacKay’s script is as classic as it gets, admittedly without any surprises, and Ronald C. Williams’s Bronze Age art is exquisite.

BIG GAME #1 bills itself as the crossover event of the Summer, and that it is. The issue is filled with dense references to oodles of Millarworld characters and titles to make Millar fans happy but accessible enough to be an exciting read for new readers. Top it all off with Pepe Larrazs stellar art, and this crossover is a winner.

BIG GAME #2 puts the BIG in BIG GAME when Dr. Crane and the Chrononauts visit 1986 to confirm superheroes existed, suffering massive consequences for their curiosity. Pepe Larrazs art is spectacular, and Millars script is as BIG as it gets.

BIG GAME #3 keeps getting bigger as The Fraternitys plans to eradicate all heroes continue, but all hope is not lost. Mark Millars super-tight plot and super-sharp wit make this comic a thoroughly entertaining read, and Pepe Larrazs art crackles with energy.

BIG GAME #4 makes an already big and fantastic miniseries and adds a twist that makes it bigger and fantastic-er(?) Millar is pulling out all the stops to surprise readers with every page turn, and Larrazs art is top-tier.

BIG GAME #5 is a flawless finish for a practically perfect crossover mini-series. Everything about Mark Millars script screams action, excitement, and adventure, and Larrazs art is inspired. BIG GAME truly is the superhero event of the year.

BIGS AND TINY #1 begins a lighthearted and action-packed superhero team-up story about two strangers who become partners after they gain superpowers. Hill and Zaharakiss script packs in the mystery with a fair bit of action, and Sabbatinis art style is excellent.

BIGS AND TINY #2 brings Bryan and Santino together as a team to find out who's hunting people and why. Hill gives the new friendship tangible, easy charm, and their newfound powers are put to a first big test. That said, dialog issues frequently hinder the prologue, and the art is riddled with anatomical oddities.

BILAL: LEGENDS OF TODAY, available now from Titan Comics, uses mystical man as a common thread to explore what would happen with the social and political ills of life when the "common man" is given the power to negate elitist power in all its forms. It's a deep and thought-provoking example of using the comic medium to explore the philosophy of everyday life and what it means to control your own destiny.

BIO-MECHS #1gets backto robot science fiction basics with an action-adventure story thats fun for the whole family.Sandlins tale is a love letter to Saturday morning cartoons, and Limas art astounds withashockingamount ofdetail.

BIRTHRIGHT #45 is an adrenaline-pumping, visually fascinating issue in the series. The story has great character interactions with a lot of heart as everyone races to the goal, and the artwork practically glows.

BITE-SIZED TALES OF TERROR (ONE-SHOT) delivers on its promise to unsettle and terrify readers. Despite a minor flaw in one story, the anthology as a whole is a solid read from start to finish.

BITEMARK (VOL. 1) is a coming-of-age horror story that explores what happens when a miraculous offer turns into a deadly nightmare. Stinsons plot shows loads of promise with excellent character work, and Muses Manga-inspired art is a diamond in the rough.

BLACK BISHOP #1 is an impressively strong introduction to the worlds greatest super spy. The story is rock-solid, the action is slick, and the art is the best weve seen from almost an indie publisher.

BLACK COTTON #4 takes a difficult topic and treats it with honesty. Its honest because it doesnt treat any character as a monolith, and it takes time to create characters that are as messy and complicated as we all are in real life.

BLACK COTTON #5 continues taut, complex, dramatic writing about a police shooting that parallels (sometimes uncomfortably) real-world events without picking sides, letting the characters actions speak for themselves. Adding in the previous plot thread about a grudge with the Keshinomi family works as a stand-alone story, but the two threads dont quite mesh, making for a strange clash of stories in the same issue.

BLACK COTTON #6 is a thoughtful case study about rage in all its forms and flavors when a series of events brings the city to a boiling point. The story is thought-provoking, the sequence of events is original yet familiar to our world, and creators wisely shine a light on every side of the conflict to let the reader make up their own mind about what they would do in the same situation.

BLADE FORGER #1 drops readers into a sprawling fantasy world where a tournament decides the new emperor and the fate of the world every five years. The Miranda brothers craft an eclectically creative world around a central idea with tons of possibilities, and Inaki Miranda's artwork is fantastic. That said, the first issue suffers from too much story in too few pages, so this is a case of a tale that would have been better off in novel form.

BLADE RUNNER 2029 #1, available from Titan Comics on March 3rd, 2021, brings a new corner of the Blade Runner universe to life in a way the feels familiar and completely fresh at the same time. The detailed art perfectly catches the melancholy tone, and the story makes for a great start to an enthralling detective drama.

BLADE RUNNER 2029 #2, available from Titan Comics on January 13th, 2021, exemplifies the best in hard-boiled detective crime noir, fitting perfectly in the Blade Runner universe. The art is sharp and emotive, and the writing keeps the reader invested through every page.

BLADE RUNNER 2029 #3, available from Titan Comics on March 10th, 2021, keeps the reader squarely immersed in the Blade Runner universe and adds a terrifying new development in the replicants development. The art is gorgeous and expressive, and the story hits all the right beats for a futuristic detective noir story.

BLADE RUNNER 2029 #4, available from Titan Comics on April 8th, 2021, escalates the stakes of the story tenfold by initiating a plan with devastating consequences for Los Angeles. The art is thoughtful in its small moments awe-inspiring in the big ones. The replicant revolution has begun.

BLADE RUNNER 2029 #5 combines thrilling action, wow revelations, and even greater potential for the future of Blade Runners. The art is kinetic yet grounded, and the story ends on an enticing cliffhanger.

BLADE RUNNER 2029 #6 has plenty of great art, action, and forward movement in the story. However, the writers are keeping readers in the dark about Yotuns master plan a little too long, and the wait is hurting the dramatic tension of the story.

BLADE RUNNER 2029 #7 flawlessly executes big ideas and big revelations in a surprisingly small amount of space for maximum impact. The character development in this issue is top-notch, and the art is gorgeous. This is a recommended pick for the week.

BLADE RUNNER 2029 #8 answers key questions about Yotuns longevity and his plans for Los Angeles. The action is gritty and tense, and this issue contains some of the best art in the series so far. Despite only mild movement on the plot, this was a generally satisfying issue and worth the read.

BLADE RUNNER 2029 #9 has outstanding art and a complex drama centered around the advent of a replicant Civil War. While the shift from the last issue to this one somewhat deflates the threat level and effectiveness of the main villain, the drama is still very much compelling.

BLADE RUNNER 2029 #10 isnt the start of a new arc but it has the feel of a new chapter as a mystery is uncovered relating to Yotuns master plan. The pacing is brisk, the art is outstanding, and the cliffhanger ending infuses a little bit of welcome fan service for longtime Blade Runner fans.

BLADE RUNNER 2029 #11 puts everyone in a bad spot for the penultimate issue in the series, promising a satisfying ending for all involved with one issue to go. The art is great, and the story has some intriguing developments, but the issue lacks any sense of building momentum. This is a good issue in a good series, but it lacks a sense of impending purpose to become a great one.

BLADE RUNNER 2029 #12 concludes the mystery and the series with a thought-provoking ending. While the ending is clean and addresses the major open threads from the series, it feels small and mildly underwhelming. Regardless of the power (or lack thereof) in the story, the art has been consistently great from first issue to the last.

BLADE RUNNER 2039 #1 kicks off a new series in the Blade Runner franchise with a new hunt for a prototype replicant led by the worlds first replicant Blade Runner. The visual aesthetic and story setup feel right at home in the Blade Runner universe, but the plot and main character feel too similar to previous arcs to generate excitement.

BLADE RUNNER 2039 #2 significantly builds on the first issue with mysterious tidbits surrounding Luvs investigation into Selwyns research. The art is gorgeous, mystery tidbits amp up the curiosity considerably, and the creators show signs of presenting a radically different protagonist than implied in the first issue.

BLADE RUNNER 2039 #3 embodies the strongest aspects of detective noir from the original film in the best way possible. The story hits you rapid fire with twists, turns, and revelations to keep Ash on her toes, and every character has something to hide, so youre constantly guessing what will happen next. Coupled with fantastically authentic art, this issue is a winner.

BLADE RUNNER 2039 #4 delivers a super-tight cat-and-mouse story as Luv and Ash try to outmaneuver each other for possession of Selwyn's research. However, the big story here is the secret within the research, and it's a game changer for this arc and the entire Blade Runner franchise.

BLADE RUNNER 2039 #5 is a smaller, quieter issue that miraculously manages to increase the stakes, tension, and moral conundrums. The art team delivers grounded, emotional art, and the cliffhanger ending adds tons of emotional weight to Ashs mission.

BLADE RUNNER 2039 #6 ramps up the urgency and layers of dramatic tension as Rash proves her worth as a detective and Ash gets into increasingly hotter water. Johnsons writing execution and Guinaldos art are excellent, but the number of twists and turns in the plot is becoming unwieldy.

BLADE RUNNER 2039 #7 pulls back every subplot to focus on Ash, her new ally, and her final push to San Francisco. The world- and character-building are expertly done, the last page twist is a banger, and Guinaldos art is excellent.

BLADE RUNNER 2039 #8 brings the first act of this saga to a close, before a hiatus, by pitting Ash and Mack against Rash and Luv. The action is grounded, gritty, and intense, and the soft cliffhanger promises big things when the title returns.

BLADE RUNNER 2039 #9 starts the last act of the maxi-series with a quiet, sedate issue that moves the players in place, makes plans, and throws in a couple of cameos to get Blade Runner fans excited for the future. Johnsons plotting, pacing, and dialog are excellent, and Guinaldos art is outstanding, but this issue is more setup with potential than a comic that will knock your socks off.

BLADE RUNNER 2039 #10 surprises with its twists and turns, building momentum toward the inevitable showdown with Niander Wallace. Despite being Rash-centric, the issue provides substantial content, and Guinaldos and Leskos art adds depth to the character interactions.

BLADE RUNNER 2039 #11 delivers good pacing, compelling drama, and effective dialogue. While the ending might feel like a soft cliffhanger, it sets up anticipation for the finale.

BLADE RUNNER 2039 #12 offers a poignant and thought-provoking conclusion to the series. Despite its subdued tone, the issue leaves a lasting impression, prompting reflection on themes of choice, sacrifice, and the uncertainty of the future.

BLADE RUNNER: BLACK LOTUS #1 is a better-than-average start for a new Blade Runner adventure. The setup and character introductions are rock solid, as is the art. That said, the desert town setting and absence of detective noir mood make this story feel like a Cowboy Western rather than a Blade Runner series.

BLADE RUNNER: BLACK LOTUS #2 is a superior entry compared to issue #1 as the storys stakes and drama bloom exponentially. The action is intense, the dramatic moments drip with tension, and the action is well-choreographed.

BLADE RUNNER: BLACK LOTUS #3 is a fast-paced, action-packed issue to keep you on the edge of your seat almost from start to finish. However, Elles reversion to a killing machine happened too quickly, so you begin to see Elle as a plot device rather than a character with complex feelings.

BLADE RUNNER: BLACK LOTUS #4 ends the arc somewhere between a whimper and a bang. The loose ends are all tied up, but a few old points, and a strange new one, are brought up and resolved too quickly to feel organic to the story.

BLADE RUNNER BLACK LOTUS: LAS VEGAS #1 kicks off its run with sand in your teeth and paranoia in your veins. It's all setup, but setup laced with knives, grudges, and radioactive neon. The Doll Squad is primed to explode, Elle is a fugitive moth circling the Vegas flame, and Wallace sits smug at the center like a spider in the dark. If this opening is the hand we've been dealt, the game promises to get very bloody, very fast.

BLADE RUNNER BLACK LOTUS: LAS VEGAS #2 is a neon fever dream that nails momentum and spectacle but occasionally forgets that mystery is sexier than explanation. The art burns with radioactive brilliance, the world-building teeters between myth and madness, and Elle's descent into Vegas promises carnage and revelation in equal measure.

BLADE RUNNER BLACK LOTUS: LAS VEGAS #3 proves that Elle's real enemy isn't the empire trying to capture her, but the replicant royalty trying to domesticate her. The issue lands its core moment, Elle's refusal to participate in staged violence, and uses that to ask a sharper question: can freedom built on another's oppression ever be real? Hervas and Lesko remain the issue's secret weapon, transforming monotonous exposition into visual spectacle that actually sustains momentum. However, the script sometimes forgets that silence is louder than legend, burying character development under layers of world-building explanation.

Blade Runner Black Lotus: Las Vegas #4 delivers dense ideas and striking visuals, but it also leans hard on wordy exposition and leaves the central Vegas storyline half finished in favor of teasing the Underbelly sequel. If you have followed Elle from the anime through prior issues and you are invested in every twist of Niander’s fallout, this chapter offers enough conceptual fuel and moody art to justify the spend, though you may still feel shortchanged by the lack of a clean emotional payoff.

BLADE RUNNER ORIGINS #1, available from Titan Comics on March 10th, is a fairly standard detective noir story that benefits from the Easter eggs, bells, and whistles of the Blade Runner universe. The art is precisely atmospheric for the source material, and the snappy writing keeps the reader engaged.

BLADE RUNNER ORIGINS #2, available from Titan Comics on March 24th, 2021, keeps the artwork high and turns the excellent writing up a little higher. But for the slightly jarring gap between the end of the first issue to the start of this one, this would be a near-perfect issue.

BLADE RUNNER ORIGINS #3, available from Titan Comics on April 21st, 2021, does the minimum amount of movement to keep the story interesting and drops one heck of a mystery reveal. The pulpy art loads in tons of atmosphere, and the revelation has broad implications for the remainder of the arc.

BLADE RUNNER ORIGINS #4, available from Titan Comics on May 19th, 2021, pumps up the action with an extended chase scene that finds the main character finally taking on the Blade Runner role. Despite the sprinting pace, the story covers a lot of ground and ends with a surprising reveal.

BLADE RUNNER: ORIGINS #5 turns down the momentum on the hunt for the Nexus 5 to build up more character moments between the cast of characters. While the moments (and the art) are very well done, the plots pace and lack of information about the mystery surrounding the Nexus 5 are slowing down too much to hold the readers interest for much longer.

BLADE RUNNER: ORIGINS #6 drops heavy doses of hints to correlate the replicant uprising with (possibly) class struggles and trans rights. The potential for thought-provoking ideas are all present, but it remains to be seen if the mysterys execution can live up to the message(s). The art is flawlessly neo-noir and dramatic, so youll thoroughly enjoy the look of this book, even if youre not quite sold on the mystery yet.

BLADE RUNNER: ORIGINS #7 is filled with surprises and satisfying reveals, but the constantly shifting focus feels like the story doesnt know where its going. That said, theres plenty of cool art and cool reveals to keep the reader engaged as long as readers are invested simply for the cool factor.

BLADE RUNNER: ORIGINS #8 is a breather issue that takes full advantage of the break from the main arc to give readers a ton of thrilling action while filling in bits of story through the fight. The art is outstanding, and the writing is well-paced, but the central, nagging plot point that frustratingly remains unanswered is why would Dr. Kine do what she did?

BLADE RUNNER ORIGINS #9 gives readers an all-out battle as Stahl seeks to bury the truth of her project forever. The action is fast-paced and tight. The exposition builds out the lore more than it reveals the answers to the mystery. And, the cliffhanger finish is strong.

BLADE RUNNER ORIGINS #10 works for answering long-standing questions surrounding the mysteries in the series. The reveals are well-executed, albeit a mixed bag in terms of satisfaction for an assortment of reasons. You can feel the series is moving towards a formal conclusion, so well see if the remaining few questions get their due.

BLADE RUNNER ORIGINS #11 is an excellent penultimate issue in the series with a daring plan to end the Tyrrell Corporations destructive ways. The plan has a bait-and-switch ending you wont see coming for a pleasant surprise, and the art team keeps the energy high with non-stop action.

BLADE RUNNER: ORIGINS #12 is a finale that says a lot of goodbyes and packs in the emotion but fails to conclude some critical plot points left hanging since the start of the series. You cant say the creators didnt have enough time or issues to bring the series to a full resolution, so despite some amazing art from Dagnino, this finale falls short.

BLADE RUNNER: TOKYO NEXUS #1 starts a new detective story in Tokyo soon after the rise of the Blade Runners. Kianna Shore's story starts strong and infuses a host of authentic Japanese elements. Plus, Mariano Taibo's art looks great. Unfortunately, the mystery at the heart of this issue doesn't have any obvious connection to what Blade Runners do, and the protagonist proves to be a poor detective.

BLADE RUNNER: TOKYO NEXUS #2 introduces a new Blade Runner and deepens the mystery surrounding Sayo's sister's disappearance. Unfortunately, a cool concept is marred by incomplete scenes, conclusion jumps that are big enough to span the Grand Canyon, and bizarre choreography in the last moments.

BLITZ (VOL. 1) is a banger of a story using chess as the backdrop for a classic Heros Journey. The character work is excellent, the pacing and plotting are spot-on, and the art captures the excitement and drama of a well-played chess match to engage even the most novice of readers.

BLITZ (VOL. 2) amazingly turns chess into a thrilling, dramatic, action-filled Manga. Biscay and Mori build layer upon layer of interpersonal conflict and dramatic tension, and Nishihara's depiction of sword fights makes every match a thrill ride.

BLITZ (VOL. 3) turns up the competition heat when Tom and the ISS team win their way to the finals, but getting to the Nationals will take more than determination. Biscay and Moris tale turns a chess tournament into a surprisingly riveting heros journey, even if you dont know anything about chess.

BLOOD & THUNDER #1 is a perfectly serviceable setup to introduce readers to Metro-1's best bounty hunter and her talking rifle. Benito Cereno's script, based on a Robert Kirkman concept, miraculously fleshes out an entire world in a single issue, and the art team's visuals are the highlight of the issue. That said, world-building is no substitute for a strong hook, so this issue fails to grab you.

BLOOD & THUNDER #3 delivers a chaotic, action-packed installment that expands its universe in exciting ways. While the frenetic art can sometimes hinder clarity and the new plot thread feels a bit shoehorned in, the core dynamic between Blood and Thunder remains highly entertaining. This issue solidifies Prisoner X as a major threat and sets the stage for a much larger, more mysterious adventure. It's a wild ride that, despite a few bumps, leaves you eager for what comes next.

BLOOD ON SUNSET #1 mixes classic detective noir with supernatural monsters for an intriguing story about a gangsters murder that may get a private investigator in hot water. The mood and tone of a classic detective noir story are captured precisely, the art layers on heaps of smoky atmosphere, and the supernatural elements are blended in seamlessly for a unique brand of historical fiction.

BLOOD ON SUNSET #2 continues to pull off a high-quality detective noir story with monsters. The art is smokey, moody, and atmospheric. All the elements for a good detective story are present. And while the nature of the monsters is vague enough to be slightly confusing, theres a lot to like in this second issue.

BLOOD ON SUNSET #3 is a rock-solid entry in the series with a sultry atmosphere, monstrous action, and a serviceable amount of character development. The rough, scratchy art complements the tone of the story, and while the lack of information about the nature of the monsters is frustrating, enough tidbits are dropped in this issue to keep things moving forward.

BLOOD ON SUNSET #4 is the strongest issue in the series. DAnnas writing fills in critical blanks in the arc, puts the main character in an increasingly desperate situation, and ends with a twist youll kick yourself for not expecting. The excellent writing is complemented by equally excellent art for a mashup that works as both a period piece as well as a supernatural tale of horror.

BLOOD ON SUNSET #5 is a solid semi-ending to the arc with the killers big reveal that makes complete sense in hindsight. The vibe of a classic detective noir story comes through loud and clear, and the art team pulled out all the stops to present a dusty city as darkness falls.

BLOOD, SKULLS, AND CHROME #3 is an excellent entry in the biker gang crime thriller sub-genre. That threat of danger keeps the tension on high at all times. The pacing and feeling of momentum towards a collision feel palpable. And, the art is generally good.

BLOODBORNE: THE BLEAK DOMINION #1 returns to Yharnam to find Luciens thirst for revenge, leading him down a dark path. Bunns scripting is tighter, sharper, and more focused, and Kowalskis art keeps getting better.

BLOODBORNE: THE BLEAK DOMINION #2 leans heavily on video game-inspired action when Gretchen and Abraham search for Lucien in monster-filled tunnels. However, the story seeded in the first issue is almost entirely absent. If you want to see a Bloodborne video game in comic form, this is as close as you can get, but if you want a compelling story with action, wait until the next issue.

BLOODBORNE: THE BLEAK DOMINION #3 seamlessly blends strong emotional conflict with tension-filled, monster-fighting action for the hardest-hitting issue yet. Bunn takes Lucien on a conflicted journey of grief, and the Hunters have their hands full with massive monsters.

BLOODBORNE: THE BLEAK DOMINION #4 provides a solid and satisfying conclusion to the story. As a spin-off to the video game, it successfully ties up loose ends. The art, showcasing Kowalskis growth, adds to the overall enjoyment of the comic. While the ending lacks a grand finale, it fits the tone of the series.

BLOODBORNE: THE LADY OF THE LANTERNS #1 is a strong start to a horror series and well above-average for a video game adaptation. The star of this inaugural issue is Bunns brutally efficient and effective writing that brings readers into the Bloodborne world without the need for foreknowledge of the video game or extensive setup. The art teams work is good albeit weak in a few spots.

BLOODBORNE: THE LADY OF THE LANTERNS #2 is an effective horror comic about the loss of faith and what a priest will do in a moment of last resort. The ragged art suits the ragged hopelessness of the churchs congregants, and Bunns writing plays up the feelings of desperation. Strangely, this second issue barely has anything to do with the preceding issue, so it feels like a one-shot instead of another entry in a series.

BLOODBORNE: THE LADY OF THE LANTERNS #3 finally starts pulling the pieces together when Vivian and Luciens father returns, only to be met with heartbreak. The Ladys latest brute is a terrifying monster, and the heart-wrenching deaths are haunting.

BLOODBORNE: THE LADY OF THE LANTERNS #4 ends the arc (maybe?) with a climactic battle between the hunters, the possessed citizens of Yharnam, and the monstrous Lady of the Lanterns. The action is fierce and sure to be a crowd-pleaser for fans of the video game, but the open ending is a little too open-ended, leaving you to wonder if anything was accomplished.

BLOODSHOT #10, available from Valiant Entertainment on January 13th, 2021, is a surprisingly good jumping on point for new readers to get to know the titular character. To catch readers up, the exposition and dialog gets a little heavy, but there's more than enough action to keep the pace moving. This issue a n excellent start to a promising story arc. I strongly recommend this book.

BLOODSHOT #11 takes the very present issues of political division and toxic patriotism, ramps it up to 11, and wraps it in a sci-fi action piece. The art is gorgeous, but the story was a little hard to follow in spots due to Rampage's over-the-top rantings. It's a solid issue, albeit not as good as #10.

BLOODSHOT #12, available from Valiant Entertainment on March 10th, 2021, concludes the arc with excellent art and a somewhat satisfying conclusion. Despite an out-of-place depiction of the president and a scientific explanation that's anything but, this was a mostly enjoyable finale.

BLOODSHOT: UNLEASHED RELOADED #1 offers intense action and violence, catering to fans who enjoy Bloodshot doing what he does best. However, it falls short in providing a compelling plot or character development. While visually impressive, the lack of depth may leave some readers unsatisfied.

BLOODSHOT: UNLEASHED #1 is a hard-hitting first issue. The art is spectacular, Camps writing gives you all the information you need effectively through the action, and the setup for the arc gets right to the point to pull you in.

BLOODSHOT: UNLEASHED #2 is another winning entry in the series with a surprisingly heartbreaking story that forces Bloodshot to battle an unstoppable robot while he tries to ignore the pleading, fearful visage of his son. The action is big, loud, and gruesome, and Camps scavenger hunt plot works well enough, but the heartache in this issue is the selling point.

BLOODSHOT: UNLEASHED #3 takes a break from the arc for an above-average breather issue that teams the titular character with X-O Manowar to root out an alien monster. The art is next-level bloody, the character acting is spot-on, and Camps delicate handling of corrupted faith is commendable.

BLOODSHOT: UNLEASHED #4 ends the arc and the series with a battle of strength and will between two damaged soldiers. The personal anguish of each soldier resonates loud and clear, and the replacement artists work is commendable. However, the narrative flow of the plot is super confusing at times, and the ending simply stops the series without any resolution.

BLOWBACK is an interesting idea about combat Marines accidentally transported back in time when they encounter pirates, historical figures, and Revolution-era battles. The artists and writers deserve kudos for the sheer volume of attention paid to accuracy and authenticity from everything to ship design to period costumes. That said, the characters are generic and there are too many extraneous scenes, making for a graphic novel thats unnecessarily long with no emotional hook.

BLOWTORCH #4 is a gritty, violent crime thriller, in the vein of Parker, that hits the right machismo nerve. The artwork is above-average for B&W, the character work is brutally efficient, and the action is savage. this is a recommended pick.

BLU LULLABY #1 is a solidly creative concept that mixes a whimsical fable for children with vicious horror. The pace, dialog, and overall story execution are lean, and the character designs are imaginative. The only down point is a flatness in the coloring, but otherwise, this is a fascinating idea, and were keen to see what happens next.

BOOK OF LEGEND: ANTHOLOGY #1 is an exceptionally written anthology, experimenting with different storytelling styles, executing each story with maximum efficiency and impact. The art varies but never falls below the level of good. This is a highly recommended indie pick.

BOOK OF SHADOWS #1 is a solid beginning to a multi-hero crossover event when the world is threatened by a supernatural villain bent on controlling the world. Bunns writing is clean, efficient, organic, and imaginative. The art is very good but lacks the finesse that made the previous Shadowman series stand out.

BOOK OF SHADOWS #2 is a fine entry in the series with well-crafted flashbacks and exposition that give readers the history of Exarch Fane and his plans for the world. The art is good, and the writing execution is excellent, but the minor drawback is how small the story feels compared to the threat presented.

BOOK OF SHADOWS #3 is a solid entry in the crossover event that pushes the world closer to an eternal Hell. The monster designs are cool, and the action is fierce, but the main villains motivations are weak, and the action feels small in spots.

BOOK OF SHADOWS #4 ends the crossover event with a simple, straightforward brawl that saves the world and puts all the characters back where they were. While the story feels complete with very good art, nothing memorable happens, and the overall conclusion feels small.

BORN OF BLOOD #1 is a powerful origin story rooted in historical events that gives rise to a Spartan ruler who demands your respect. Her trials are brutal, her quests are demanding, and through them all, the creators have crafted an origin story that begs for more adventures with excellent art and gritty action.

BORN OF BLOOD #2 is another hard-hitting issue from Merc Magazine, treating readers to plenty of action, blood, and sex to fuel your inner warrior. The plot, pacing, dialog, and narrative flow are solid, and the art is excellent. But for a few vagueries surrounding the Kings conflict, this would be a near-perfect comic.

BORN OF BLOOD #3 turns up the heat on the intrigue between warring nations and the battlefield. The character interactions are complex and nuanced, the art explodes with raw, gritty, bloody power, and the (literal) cliffhanger will have you coming back for more.

BORN OF BLOOD #4 is a pedal-to-the-metal action comic with gritty fights and high-octane pacing. If youre into sword-and-sandal adventure, it doesnt get much better than this.

BORN OF BLOOD #5 is another strong entry in the series with possibly the best art in the arc so far. Widdicks issue is filled with action, character development (for Giaris), and a rock-solid cliffhanger.

BOSTON METAPHYSICAL SOCIETY: GHOSTS AND DEMONS tells a complete story that fleshes out all the characters from the original series and sets the stage for future conflict. While the story is complete and the art is excellent, the story feels like it needed an extra 20 pages to not feel as rushed as it does here.

BOSTON METAPHYSICAL SOCIETY: THE BOOK OF DEMONS is the best one-shot spinoff of the series so far. The story gives more room to the magical elements, creates a compelling conflict with clear stakes, and ends on a satisfying note that leaves the door open for more adventures to come.

BOUNTIFUL GARDEN #1 is a strange twist on Alien (1979) with kids for the crew and horror thats possible based on plants. While the pacing is good and story beats are familiar in a positive way, the new story points are odd and not well-explained yet.

BOUNTIFUL GARDEN #2 has some creepy plot developments and equally creepy art, but the creative choices between the tone of the story, the characters, and the art style dont mesh well. The end result is a comic that doesnt seem to know what it wants to be. Theres promise in this title, but it needs to sort itself out.

BOUNTIFUL GARDEN #3 is an effectively chilling creature feature that amps up the paranoid tension on every page, making you feel like something is about to jump out of the dark at any second. While the fundamental premise is distractingly odd, this issue is the strongest and most emotionally effective of the series by a wide margin.

BOUNTIFUL GARDEN #4 is a mixed bag of effectively creepy horror elements and strangely out-of-place exposition dialog. The art services the story well by capturing the right tone of fear, but the exposition both helps the character development and breaks the suspension of disbelief.

BOUNTIFUL GARDEN #5 concludes the arc with death, madness, and the promise of growing trouble for the universe. The crews adventures on the planet are done, but the arc lacks a full conclusion that feels like its transitioning into a new phase of the story. As a whole, this title is a novel experiment that never managed to grow past its shortcomings.

BROADLEAF #1 begins a low fantasy tale about a father/son hunting trip with a magical twist when the forest is alive with talking animals. Horns story captures the magic of the forest brimming with potential, and Jennexs eye is eye-catching, but the plot and direction of the story struggle to take shape.

BROKEN GARGOYLES: SIN AND VIRTUE #1 is dramatic and powerful writing coupled with bold, colorful art. That said, readers are dropped into several open threads that make it a challenge to jump in, so go back and read volume one first.

BROKEN SOULS BALLAD #2 is a creepy, gross, unsettling entry in the body horror arena taking a bolder step than the X-Men would ever dare to tread. The writing perfectly captures uncomfortable feelings of anxiety and panic, and the art does an excellent job of carrying the emotion of each scene.

BROKEN SOULS BALLAD #3 gives the phrase paint the town red a completely different meaning when Toms date plans dont go as planned. The story of teens undergoing a horrific metamorphosis is exceptionally relatable and human. And the art captures the body horror elements perfectly.

BROKEN SOULS BALLAD #4 sees Mrs. Adeles forces begin an all-out assault to bring the mutants under control. The art is ooey, gooey grotesque, and each scene plays out with plenty of human emotion. However, the reading pace slows considerably with too many threads fighting for attention with the limited page count.

BUG WARS #3 continues Slade's discovery of a miniature world at war when he's discovered to be the son of a revered figure. Jason Aaron's imaginative script gives you everything you like about Hard-R Sword & Sorcery from the 70s through the 90s, and Mahmud Asrar's art is gritty greatness. That said, Aaron's script gets excessive in the wordplay and nudity when it's not relevant to the story, so some readers may be put off.