Gabriel Hernandez's Comic Reviews

Reviewer For: Comical Opinions, Monkeys Fighting Robots Reviews: 2225
8.0Avg. Review Rating

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.
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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.
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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.
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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.
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CONAN THE BARBARIAN #12 is a pristine, pitch-perfect end to another fantastic Conan adventure for Jim Zub and Titan Comics. Zub is channeling Robert E. Howard, with a clear reverence to the source material, and Robert De La Torre's art is astounding.
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CONAN: BATTLE OF THE BLACK STONE #1 marks what could be the beginning of Titan's and Jim Zub's creation of a Robert E. Howard Universe when a collective of heroes across time are called to join Conan in battle against the Black Stone's evil. Jim Zub infuses his story with an undeniable passion to extend Howard's legacy, and Jonas Scharf's sharp, atmospheric art is first-rate.
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CONAN: BATTLE OF THE BLACK STONE #2 assembles Robert E. Howard's adventurers to face a threat hunting them across time and space. Jim Zub's approach to Howard's characters is spot-on, and you couldn't ask for a better way to bring an eclectic team together. Plus, Jonas Scharf's artwork is dead-center perfect.
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CONAN: BATTLE OF THE BLACK STONE #4 ends the spectacular crossover miniseries on a cosmically good note. Jim Zub imagines a battle for the age that requires our heroes to fight, sacrifice, and die to save the world, and Jonas Scharf's artwork is pulp magnificence.
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ELRIC: THE DREAMING CITY #2 is the very epitome of sprawling, grand fantasy. The scale and scope of war are made all the more impressive by how much the creators were able to pack into a single (not oversized) issue. Everything about this two-issue arc screams EPIC!, so you cant go wrong if youre into fantasy/adventure.
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GOOD BOY (VOL. 3) #3 is a killer issue in every conceivable way. The action, the dialog, the pacing, and the character development exemplify pure entertainment and everything you love about well-crafted thriller action.
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JONNY QUEST #2 is everything you want in a modern adaptation of a classic property. Joe Casey delivers action, mystery, and drama around the heart of a classical science fiction story. Plus, Sebastin Piriz's visuals faithfully recreate the original cartoon's aesthetic beautifully.
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JONNY QUEST #5 ends the high-flying, time-traveling adventure with big stakes, loads of urgency, and a satisfying conclusion. Joe Casey's immaculate adaptation gives Quest fans everything they love about the original property, and the art team's modern take on the visuals is as authentic as it gets.
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RED SONJA: THE SUPERPOWERS #1, available from Dynamite comics on January 13, 2021, is everything I want out of a Red Sonja comic with a twist. This series exemplifies 100% pulp adventure in all the best ways, and I want more of it. This is a highly recommended read.
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SPACE GHOST #5 is another winning entry in the series when Space Ghost is forced into an impossible situation. David Pepose's script hits all the right notes with edge-of-your-seat action, gut-wrenching drama, and a titanic challenge for our heroes to overcome. A large amount of the success of this issue is due to Jonathan Lau's artwork, which nails the energetic action and deep emotional beats in equal measure.
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SPACE GHOST #8 is a gritty, dramatic, over-the-top entry in the series that brings an old enemy back to send Space Ghost on a rage-fueled revenge quest. David Pepose's script practically explodes with power, and Jonathan Lau's macho art is inspiring.
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THE BOOGYMAN #6 is a spectacular ending to a spectacular series that mixes supernatural horror with high-energy action and emotional depth. The final fight will have you on the edge of your seat, and the final pages will have you holding back tears.
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THE MAGIC ORDER (VOL. 5) #1 begins the last volume in the series with a gut-wrenching crime that's every parent's nightmare. Mark Millar grabs you from page one with a crime that leads to a magical threat for the entire Order, and Matteo Buffagni's art strikes a perfect balance between shock value and mature drama.
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THE ROCKETFELLERS #1 is the strongest debut series from Ghost Machine to date, with a time-traveling family on the run from nefarious forces. Peter J. Tomasi's script gives you the full range of action, emotion, and energy to make every moment memorable, and Francis Manupal's art is the best it's ever been.
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THE SACRIFICERS #6 ends the first arc and volume of Rick Remenders fantasy epic on the highest of high notes. Pigeons bid to escape sacrifice puts him at the center of a civil war among gods, and the ending will leave you wanting more.
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THE SACRIFICERS #7 livers an emotionally powerful and visually stunning narrative, seamlessly blending elements of pain, heartache, and resilience. With its impeccable storytelling and captivating artwork, it earns a well-deserved recommendation.
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THE WEST MOON CHRONICLE #1 is a shocking first issue in how well it creates a world of magic and monsters hidden within our own and fully develops the lead characters with masterful efficiency. Every aspect of this comic is a surprise we did not see coming, and it deserves our highest recommendation.
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TRANSFORMERS #1 is everything a Transformers fan could want from a reboot and more. Daniel Warren Johnsons writing and art give the property a fresh take while remaining faithful to the source material, which is all any Transformers fan could ask for.
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TRANSFORMERS #6 is nothing short of perfection. It strikes a harmonious balance between nostalgia and innovation, delivering a compelling narrative filled with action, emotion, and stakes that matter. This isnt just a comic about toys; its a mature and fully realized exploration of the Transformers universe. If Image and Skybound can maintain this level of quality, Transformers is poised to become a long-lasting success. This issue, and the series as a whole, comes highly recommended. Buckle up, Transformers fans this is the comic youve been waiting for.
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TRANSFORMERS #12 is a mesmerizing display of bombastic, over-the-top action, drama, and mature themes from start to finish. Daniel Warren Johnson is giving his all to a series that keeps getting better, and Jorge Corona's art suits Johnson's storytelling vibe to a tee.
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THE CIMMERIAN: HOUR OF THE DRAGON #4 is a stellar conclusion to a stellar adaptation of Robert E. Howards most famous creation. The adaptation to comics captures the essence of the source material without losing an ounce of importance, and the art is stunning.
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GOOD BOY (VOL. 2) #2 comes as close to cinema-quality storytelling as a comic can get. The pacing, dialog, plotting, action, drama, and emotion are all present and accounted for. This is one of the best small-press titles on the market today, better than most anything coming out of the Big 2. This is a highly recommended pick.
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STAR WARS: Bounty Hunters #1 is a perfect tie-in to The Empire Strikes Back that pairs well with The Mandalorian. I highly recommended this book for any Star Wars fan.
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THE SAVAGE SWORD OF CONAN #4 is a pulp adventure lover's dream as a cavalcade of creators regale readers with short tales of popular and lesser-known Robert E. Howard characters. The Black Stone provides the connective tissue that links the stories across time and space for one of the best anthologies we've read in years.
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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.
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RED SONJA #15, available from Dynamite on May 20, keeps the reader interested in the crimson-haired warrior as she struggles with problems that can't be solved with a sword. The story is engaging, the art team turned out top-notch work, and I'm on board to see what happens next in this volume.
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STAR TREK: YEAR FIVE #11 looks, reads and feels like it was lifted directly from the original series. The dialog is realistic to the voices of the characters, the story is on the level of one of the better episodes, and the art hits all the right nostalgia notes. Highly recommended for any Star Trek fan.
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THAT TEXAS BLOOD #1 is a slow burn that packs a punch at the end. The writing builds tension almost to the breaking point, and the artwork convinces you there are 10 years of history behind every glance. This is a must read book for neo-Western fans.
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THE LOST CARNIVAL is an almost perfect example of the type of YA novels the comics publishers should be putting out.
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VENGEANCE OF VAMPIRELLA #7, available from Dynamite on May 27, is a strong continuation of the resurrection story. The writing is solid and the art is significantly better than the previous issue. Vampirella fans should pick this up.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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BY THE HORNS #3 crafts a hero's journey that's completely predictable but thoroughly enjoyable. With some of the most gorgeous art on the market, this title continues to impress.
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BY THE HORNS #4 is the one positive example of a creator subverting expectations youll find anywhere. The creators take a standard quest arc and give it an extra push for a high-octane story.
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CAFFEINATED HEARTS (ONE-SHOT) is an achingly good shot of heart, drama, and whimsical charm spotlighting a day in the life of the galaxys most cheery waitress. The range of human experience and emotion is inspired, and Cardosellis stylized art elevates Hedricks script by leaps and bounds.
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CHILDREN OF THE BLACK SUN #2 takes the unsettling mood of issue #1 and blossoms into full-blown horror when the children manifest their potentially deadly powers. Sicchios slow-burn script pays off the wait exponentially, and Cadonicis unsettling art gets under your skin.
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THE CIMMERIAN: HOUR OF THE DRAGON #2 is a fantastic continuation to the story and a practically perfect example of an adaptation done right. The pacing is energetic, the action is intense, and the overall art is (shockingly) even better than in the first issue. If youre a Conan fan, this is a must-have series.
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THE CIMMERIAN: HOUR OF THE DRAGON #3 is a practically perfect issue in every way. The writing captures the essence of the source material without losing any of the power of drama, and the artist uses deep lines, heavy shadows, and rich textures to portray a dangerous world under the threat of doom.
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CONAN THE BARBARIAN #1 marks the first and latest iteration of the character in his new home with Titan. Thankfully, Conans move appears to be for the better as Jim Zub delivers a sword-slashing, brooding, action-packed debut worthy of Robert E. Howard fans, and Robert De La Torres art is a perfect homage to classic Conan comics.
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CONAN THE BARBARIAN #25 is one of the strongest and most entertaining Anniversary Anthologies in recent memory. Theres not a weak short story in the bunch, and each entry has a unique perspective to offer on the creation of Robert E. Howard. Conan fans will be very happy with this issue.
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CONAN THE BARBARIAN #2 delivers brooding, powerful drama, passion, and violence in equal measure to signal Conans return to form. The mystery surrounding the Lost Tribe continues to build intrigue, Conans character and the atmosphere surrounding him are spot-on, and the art is perfect.
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CONAN THE BARBARIAN #3 delivers wall-to-wall action and gritty, brutal revenge when Conan faces the dark cult responsible for wiping out his people. Zubs stray is quintessential Conan, and De La Torres art is Bronze Age perfection.
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CONAN THE BARBARIAN #4 ends the perfectly crafted first arc on a high note with action, mythos, adventure, and excitement. Zub should be proud of his near-flawless take on the worlds most famous barbarian, and De la Torres art is an exquisite pairing.
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CONAN THE BARBARIAN #6 is a pitch-perfect example of a classic Conan adventure. Zub combines brutal action with supernatural evil for a rousing tale. Likewise, Braithwaites artistic style suits the Cimmerian and his exploits to a tee.
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CONAN THE BARBARIAN #8 is full of action, violence, drama, and the gritty storytelling we crave in a Conan comic. This is EXACTLY what were looking for!
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CONAN THE BARBARIAN #9 delivers an enthralling tale of adventure, mystery, and intrigue. Jim Zubs storytelling prowess shines through, offering a captivating narrative that honors the legacy of Robert E. Howards iconic character. Combined with Robert De La Torres stellar artwork, this issue is a must-read for fans of Conan and classic sword-and-sorcery tales.
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CONAN THE BARBARIAN #11 is a grim, gritty, epic entry in the series. Jim Zub packs in a plethora of twists and turns to tie the past and present together in a surprising way, and Robert De La Torre's art is gorgeous.
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CONAN THE BARBARIAN #15 leads Conan one step further on his journey of faith when he encounters the mystery woman who might send him to an early grave. Jim Zub presents a hard-hitting Conan story with surprisingly mature philosophical and spiritual themes, and Doug Braithwaite's art is impressive.
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CONAN THE BARBARIAN #16 ends the loose adaptation of The Frost Giant's Daughter as Conan comes to terms with his brush with divinity. Brimming with fantastic art from Dough Braithwaite and deeply inspired ideas from Jim Zub, this series has yet to miss the mark.
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DANCING WITH THE DRAGON #4 wraps up the arc with nail-biting mob torture, lies, double-crosses, and mountains of tense drama. MacKinnon crafts a pair of thieves you cant help but root for, and Casalnguida creates little moments within the overall action that speak volumes.
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DARLING #4 is light on action or plot movement, but the story more than makes up for it by taking a whimsical shopping trip that gives Darling a little help and completely transforms Finch into something next level. The writing excels at taking mundane moments and transforming them into something magical, and the art, especially for Finch, communicates volumes with just a simple gesture.
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DEJAH THORIS VS. JOHN CARTER OF MARS #1 is a fine example of strong character work with grit in the pulp adventure genre. The characters are admirable to the point of nobility, and the art is some of the finest work Dynamite has out right now. this is a great start to a new series.
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DEJAH THORIS VS. JOHN CARTER OF MARS #3 is the best-case scenario for an evil mastermind monologue in comic form. Abnett cleverly interlaces the information dump with taut fight scenes and awe-inspiring reveals, elevated by Miracolos fantastic art. This is the moment when the series steps up several notches, and its a great example of building anticipation for what comes next.
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DEJAH THORIS VS. JOHN CARTER OF MARS #6 concludes the successful arc with an action-packed finale containing art in constant motion, satisfying ends to all the threads, and a new status quo ending with tons of storytelling potential. More of this, please.
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DIE!NAMITE NEVER DIES! #3 is a weird-but-wonderful interplanetary zombie adventure with creative visuals, dialog that snaps, crackles, and pops, and a villain reveal that sets up a monstrous threat. Van Lente crafts a wild adventure that would fall into the tallest of Tall Tales categories, but it works.
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DIE!NAMITE LIVES! #5 is a wild, crazy, take-no-prisoners (literally) crossover event that captures the spirit and tone of Army fo Darkness mixed with all the pulp characters from Dynamites catalog for a truly unique horror adventure. The art is as interesting and as dynamic as the one-liners, and the cliffhanger setting up the next arc will absolutely send your brain into warp speed.
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DJINN HUNTER #2 is a near-perfect blend of action, character development, and world-building. The action is tense and exciting. The visuals are colorful and rich. And the issue ends as a proper chapter, setting up the next battle to come.
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DJINN HUNTER #5 is a proper end to a proper series with plenty of twists, action, and emotion. The art is stellar, and the story ends with a heartfelt conclusion that teases the possibility of future stories. This series is a definite recommendation.
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DOCTOR RIGBY: WHERE DWELLS THE GHOSTLY BARON (ONE-SHOT) is a glorious blend of science fiction and supernatural horror, wrapped in an otherwordly detective mystery, and sprinkled with a generous helping of horror film Easter Eggs. The mystery is interesting, the pacing and dialog are on point, and the art style is a practically perfect match for the script.
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EDENFROST #3 s packed with drama and explores the strong bond between Yuli and Alex. The supernatural elements are handled expertly, and the art is just fantastic.
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ELRIC: THE DREAMING CITY #1 is the best example of a high fantasy adaptation into comic form. Without much beyond a passing knowledge of the source material, the creators bring you up to speed on the lore and plop you right into the action with tiresome exposition or volumes of dialog. The story has a swashbuckling fantasy feel that gives off strong Robert E. Howard vibes, and its a heck of a lot of fun to read.
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ELVIRA IN HORRORLAND #3 does exactly what it sets out to do show you a good time with an entertaining mix of nostalgia and laughs. The jokes and banter are snappy, the pacing and timing are nearly perfect, and the art team nails the Alien (1979) aesthetic.
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ELVIRA IN HORRORLAND #4 writings clever, witty, and fun. The art captures the look and feel of the actors but adds a farcical twist to elevate the humorous mood. And everything about this comic is deadset focused on putting a smile on your face.
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ELVIRA IN HORRORLAND #5 is a perfect ending to a nearly perfect series about a dimension-hopping adventure that takes readers through a tour of the 20th Centurys greatest horror films. The clever, snappy banter hits the mark every time. The film references feel organic to the story, and the ending leaves readers with an intriguing promise for more.
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ELVIRA IN MONSTERLAND #3 brings the monster movie and the nostalgia in the most hilarious issue of the series to date. This time, Vlad makes with the funny in a story filled with strong art, enough referential jokes to write a movie trivia book, and a Scooby-Doo reveal about the main villain you wont see coming.
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ELVIRA MEETS VINCENT PRICE #1 embodies everything you love about Silver-Age Hollywood, B-movie horror. The art is great, the jokes are better, and I had a devil of a good time reading this comic.
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ELVIRA MEETS VINCENT PRICE #2 is everything you love about Saturday Afternoon B-movie horror films. The issue is equal parts spooky scares and cheeky, corny jokes that make you smile. As much as were fans of serious, dramatic action & adventure, this title is a breath of fresh, light-hearted air.
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ELVIRA MEETS VINCENT PRICE #3 is a perfect homage to classic Hollywood films set in the desert sands of Egypt with creepy crypts, dastardly assassins, and Allan Quartermain-style adventure. The writing nails the voice of these beloved actors, and the art is as bright and as bold as the greatest of cinematic spectacles filmed in Living Technicolor.
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ELVIRA MEETS VINCENT PRICE #4 is a delightful end to a thoroughly delightful and entertaining series. The characterizations of real-life people are spot on, every corny joke lands in the best way, and the art gets every facial expression, gesture, and body posture just right for comedic effect. Dynamite would be crazy not to follow up on this series.
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FLASH GORDON #4 is another winning chapter in the modern homage to classic pulp sci-fi action adventure storytelling. Jeremy Adams nails the pace and atmosphere of the original serial, peppering in fun homages to Star Wars Original Trilogy plot points, and Will Moss's art looks fantastic.
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G.I. JOE: A REAL AMERICAN HERO #304 delivers everything youd want in a Joe comic. The blend of military, ninja, and sci-fi elements, coupled with the building momentum and energy, makes it a standout entry in the series. Larry Hamas storytelling mastery shines, and the art, despite minor imperfections, complements the narrative well.
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GATCHAMAN #5 ends the first arc on a high note with big action, big stakes, and a satisfying conclusion. Cullen Bunn may be known as a horror writer, but his skill in this adaptation is impressive, and the art team's modern interpretation of a 50-year-old property looks fantastic.
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GEIGER #1 a stellar debut that sets the stage for an exciting new series. With its compelling characters, gripping story, and stunning artwork, its a must-read for fans of post-apocalyptic fiction and superhero comics alike.
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GOOD BOY (VOL. 2) #1 is the best possible way to follow up a successful first volume. New characters and new settings are introduced through pure action frenzy, and its a joy to behold. Not a single word or bullet is wasted, the choreography is glorious, and you couldnt hope for a better character introduction in a single issue.
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GOOD BOY (VOL. 3) #1 kicks off a new arc in the hit series with a first issue packed with action, heart, drama, and surprises. The writing works on every level, and the stylized art style is a perfect partner for the story.
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GOOD BOY #3 is everything you never knew you wanted in a film adaptation that isnt technically a film adaptation. The writing is tight as a drum, the action is more dynamic than a bazooka blast, and the material takes itself, the source material, and the readers time seriously while infusing just enough black humor to make to help this adaptation stand on its own.
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GOOD BOY (VOL. 2) #4 is a practically perfect finale that hits on every level. The surreal art complements and elevates the story. The action rivals the best hard-hitting action films. And the dramatic moments are filled with raw, personal emotion.
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GRIMM FAIRY TALES (VOL. 2) #51 is filled with tense, exciting action, dramatic art, and a story that takes the multiverse seeds planted in other Zenescope titles to make the story feel huge in scope and stakes. This is a highly recommended entry in the Grimm series.
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GRIMM SPOTLIGHT: MASUMI is a fast-paced, action-packed, gritty, crim thriller wrapped in a world of demons and magic. This issue serves as an excellent primer to get to know the titular demon hunter, and the art is some of the best we've seen from Zenescope in some time.
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GUARDIAN OF FUKUSHIMA is a stunning presentation about a real-life catastrophe and a determined man willing to stand up to the government, science, and the forces of nature to protect innocent animals. Intermixed with local legends as a coping mechanism for the tragic horror enveloping Fukushima, Naoto Matsumuras determination elevates him to a legend in his own right.
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GUN HONEY: BLOOD FOR BLOOD #1 is a killer (heh) of a first issue with cinematic visuals, taut storytelling, and plenty of snappy charm. This is one of the best books of the week.
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GUN HONEY: BLOOD FOR BLOOD #3 cranks up the action for a crime noir turned spy thriller that rivals James Bonds adventures. The action-packed art, mixed with moody colors, enhances the dramatic tension, and Ardais pacing is electric.
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HUNT. KILL. REPEAT. #1 is an impressively strong start to a unique story about the Olympian gods coming back to take over the world. Londons concept is imaginative, the character work is outstanding, the plotting and pacing are top-notch, and the artwork is excellent.
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HUNT. KILL. REPEAT. #3 is a stellar chapter in the series about Artemis and her blossoming rebellion against the gods. The writing is nearly perfect, and the art is top-notch.
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HUNT. KILL. REPEAT. #5 delivers a winning tale about Artemiss attempt to acquire a new ally in a monster and former friend, Medusa. Londons writing execution and sense of storytelling is top-notch, and the art teams output is outstanding.
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HUNT. KILL. REPEAT. #6 brings the outstanding arc to a close with brutal fights, a couple of big surprises you wont see coming, and a satisfying albeit somber ending. This series is some of Londons best work and the art team fires on all cylinders.
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HYDE STREET #2 takes the serial horror series up a notch when readers learn the twisted history behind Hyde Street's littlest devil. Geoff Johns improves on the first issue with more malicious mayhem and insight into the competition between Hyde Street's collectors. Meanwhile, the art team's output is jaw-dropping.
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IMMORTAL RED SONJA #1 is a perfect start to a new adventure for the She-Devil with a Sword. Abnetts writing organically sets the stage for the curse, the quest, and everything you need to know to keep you interested. Miracolos art is sharp with a pinch of attitude to inject personality into every character. This is a great start for any Red Sonja fan.
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IMPOSSIBLE JONES #1 is a fresh and entertaining origin story about a hero whose moral compass doesnt always point North. Both the writing, especially the humor, and the art are surprisingly well-balanced. Theres just enough humor to make the reading fun without getting corny or campy. And the art hits the silver-age sweet spot without looking dated or silly. As a first appearance issue, this book is a lot of fun.
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IRON HEAD (ONE-SHOT) is an epic poem brought to life in comic book form. Cardosellis writing captures the spirit of a classical Quest story and slyly ends on a twist ending that adds multiple layers of reinterpretation to every page. The art is bold and mesmerizing. I cant say enough good things about this one-shot.
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JAMES BOND: AGENT OF SPECTRE #4 is a near-perfect action comic that fits in with the very best Bond films. The writing is clever and amusing without getting cheesy, and the art packs a punch.
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JENNIFER BLOOD (VOL. 2) #1 is everything you could possibly want in a vengeful assassin comic. The deaths are brutal with a touch of black wit. The character is not only an effective killer but shes talked about with an air of myth and legend. And the art feels gritty and kinetic. This is a highly recommended first issue.
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JENNIFER BLOOD (VOL. 2) #2 is a masterful display of expert assassins engaged in a high stakes game of cat-and-mouse. The twist and turn are unexpected, and the art makes every character feel larger-than-life in the best way. This was a thoroughly entertaining issue.
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JENNIFER BLOOD (VOL. 2) #3 embraces its full grindhouse potential to revel in violence and destruction. Theres a primal satisfaction in seeing bad people get their comeuppance and Van Lente turns that satisfaction dial up to 11. The story is dripping with schaden freude and the art is unapologetically brutal. This is a perfect comic for grindhouse fans.
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JENNIFER BLOOD (VOL. 2) #5 ends the current arc on a high note with plenty of action, twists, turns, and a jaw-dropping reveal about the title character. Van Lente went all in on going wild and crazy, but tit completely works. And Federicis art captures every blood moment in hip detail.
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JENNIFER BLOOD (VOL. 2) #6 is a stellar issue that does practically everything right. the action is wild, the story elements transition from one arc to the next flawlessly, and the art is outstanding. If youre into crime thrillers with a touch of craziness and a pinch of black humor, you couldnt hope for a better issue.
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JENNIFER BLOOD (VOL. 2) #7 is practically perfect in every way for the material. The writing is smart, edgy, hip, and funny, with enough hyper-violence to wow you. The art team complements the writing with equal perfection.
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JENNIFER BLOOD (VOL. 2) #8 is a gripping, slick, violent, and witty crime thriller. Van Lente furthers the story along with plenty of action but maximizes the fun element to ensure the plot progression entertains you with every page turn.
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JENNIFER BLOOD (VOL. 2) #9 is as good a penultimate issue going into the arc finale as you could hope for. The violence is brutal, the black humor rears its wicked head at just the right moments, and the big revelations raise the stakes for the next issue exponentially.
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JENNIFER BLOOD (VOL. 2) #10 is a killer issue to end a killer arc. The writing is whip-smart, the action is fast, furious, and bloody, and the twist that starts the third act elevates Jennifer as an indomitable force in both mind and guns.
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JONNY QUEST #1 begins a brand new adventure for Jonny and his allies when they return home to an unsettling mystery. Joe Casey recreates the high-flying spirit of adventure and charm of the source material, and Sebastin Piriz's artwork perfectly captures the look and feel of the original cartoon, enhanced by Lorenzo Scaramella's amazing coloring. This debut may be one of Dynamite's best adaptations yet.
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KING CONAN #2 is an excellent character piece showing how an aging Conan, burdened with kingship and fatherhood, struggles to reconcile his old ways with his new life. Aaron organically weaves in a third mystery into the two introduced in the first issue while keeping the narrative clean, straight, and thoroughly engaging. The excellent writing is buoyed with excellent art, particularly through the use of dramatic shadow and accent coloring.
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KING CONAN #4 is an outstanding entry in the series for the way Aaron answers the mystery of Conans departure from home and what it means for the future of his kingdom. The dialog is poignant, the action is powerful, and the art team elevates the story even further in every panel with fantastic art.
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KING CONAN #5 takes a slight break from the action to build out Thoth-Amons character with surprising depth and complexity. The pacing is excellent, the narration hits the right tone for this material, and the art is spectacular.
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KING CONAN #6 is a near-perfect end to a near-perfect Conan run. Aaron nails Conans personality and the tone of a Robert E. Howard adventure. The art team projects the grim determination of a barbarians gritty, hard-fought life in every panel. This issue is the most fitting goodbye imaginable for the worlds greatest warrior.
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KNIGHTS OF THE GOLDEN SUN #13 is an exciting, fast-paced, and action-packed comic. The character work is sophisticated yet accessible, and the art is some of the best Mad Cave has to offer. This issue is a strongly recommended pick.
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LIFE ZERO #5 is expert-level storytelling through both the art and the writing. Readers are treated to big revelations that actually subvert expectations the right way. The impact of each reveal hits hard, and the implications of the past and for the future are horrific.
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LITTLE RED RONIN #2 is the rare circumstance of a second issue building and improving on the first in every way. The writing is clever, sharp, and witty. The horror elements are horrific. And the art is fascinating.
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LITTLE RED RONIN #3 is a stellar end to an arc in a stellar series. The resolution is as powerful as it is heartbreaking, the art is outstanding, and the ending satisfies while leaving the door open for more.
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LOCUST #3 takes readers on an uncomfortable ride filled with hideous monsters, murderous cults, and wall-to-wall desperation and insanity. The gut-punch ending will haunt you. Horror fans must get on board with this title.
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LORD OF THE JUNGLE #1 starts a new adventure for Tarzan with a faithful and gorgeous retelling of his origin story. The art is a perfect homage to Kuberts classic Tarzan comics, and Jurgenss adaptation of the source material is as engaging as it is faithful.
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LORD OF THE JUNGLE #2 is everything you want in a comic starring one of the worlds greatest pulp action heroes. The writing captures the spirit of the source material beautifully, and the art is perfect.
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LORD OF THE JUNGLE #3 continues to impress by reinvigorating one of the greatest pulp characters of all time. Jurgenss understanding of Tarzan is spot-on, the recounting of Tarzans early days is fresh-yet-faithful, and the Bronze Age-style art is exquisite.
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LORD OF THE JUNGLE #4 is another great issue in an already great series filled with action, adventure, and excitement. Dan Jurgenss spot-on pulp writing is matched only by Bennite Gallegos near-perfect Silver Age style.
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LORD OF THE JUNGLE #5 is a stellar penultimate issue in a thoroughly stellar series. Dan Jurgens absolutely nails the heroic spirit, grit, determination, and action of Tarzan, and Gallego's art is a perfect homage to the styles of the Bronze Age.
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LOVE ME: A ROMANCE STORY #1 is a supremely surreal romance tale about a super optimistic robot who finally finds the girl of his dreams. The characters and setting are ripped from a brightly dystopian future, but the budding romance story is as old as Time.
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MAN GOAT & THE BUNNYMAN #2 picks up the tension, action, and stakes from issue #1. The writing is authentic with a bite of wit, and the art is on another level.
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MAN GOAT & THE BUNNYMAN #3 ends the mini on a high note with brilliant art, high-paced action, and a Hell of a lot of fun.
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MECHANIX #3 is a thoroughly enjoyable end to a thoroughly enjoyable arc. Slabaks writing nails the spirit of a wholesome, family-friendly adventure, and Natalinis Manga-influenced comic strip art infuses amusement and fun into every panel.
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MEGA #2 is an epic ending to an epic tale about ancient Kaiju unleashed and the power in the hands of a little girl to save the world. The battles are gloriously titanic in scope and scale, and the double-sized issue reads at a lightning-quick pace. This two-parter is everything you love about Godzilla films with heartfelt drama to spare.
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MORIARTY: CLOCKWORK EMPIRE #4 is a Grade-A finale to an inventive Sherlock Homes story about a nefarious force scheming to take over the world. The writing is fast-paced, energetic, creative, and exciting. And the dramatic art is perfect for this type of story.
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MUHAMMAD ALI: KINSHASA 1974, takes one of the greatest events in sports history, adds in eclectic art to imagine the private moments, and tells it all from a unique perspective. This is a human story more than a sports story, and it reflects the champion's spirit, warts and all.
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NIGHT CLUB (VOL. 2) #1 returns to the vampire vigilante team to find typical teenage drama troubles and bad influences have created a dangerous split. Mark Millar's knack for organic dialog, engaging personalities, and strong character moments are matched by Juanan Ramrez's slick art and excellent character acting.
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NIGHT CLUB (VOL. 2) #2 turns the teenage relationship drama and the threat level up to eleven when Sam's heartbreak motivates him to make foolishly dangerous choices. Mark Millar absolutely nails the essence of teenagers dealing with the challenges of growing up (as vampires), and the art team's visual delivery for angst, drama, and supernatural elements is on point. This series is everything Twilight wishes it could be and more.
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NOOK #2 is the type of tragic ghost story that sticks with you. The specter in the nook reveals its past to Avery, and its a fundamentally heartbreaking experience. In fairness, the art style is cartoonish, but the panel compositions maximize the emotional weight of every scene.
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NOTTINGHAM #4 continues to impress with a taut, dramatic, gritty story of rebellion mixed with a hard-boiled crime drama. The writing is smart, and the art doesn't pull any punches.
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NOTTINGHAM #6 is a perfect example of a title coming back from hiatus with as good, if not better, quality than before the break. Hazans sense of realism mixed with mythology is exceptional, and the art team has upped its game on every page.
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NOTTINGHAM #7 is a top-notch issue that pulls off a minor miracle by making the B plot just as interesting as the A plot. The writing is tight and gripping with every page turn, and the art team is turning in some of their best work.
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NOTTINGHAM #8 is an excellent entry in the series with tension that builds and builds as French forces whittle away at Hood and Blackthornes men. The cat & mouse attempts to uncover the traitor are clever, and Volks art compounds the tension to keep you on the edge of your seat.
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NYX #2 is a strangely relatable, charming, humorous, and heart-warming chapter about the natural tensions between father and daughter surrounding the family business. The writing is top notch, and the art is excellent.
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NYX #10 is a visually imaginative, surprisingly soulful look at a family that puts an end to a generational cycle of toxicity and abuse in the weirdest way possible. Gage crafts a story filled with all the Dynamite mainstays you would expect but puts the toys back in a different toy chest with an uncertain future. You cant beat a comic that gives you something to think about.
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SOLO: THE SURVIVORS OF CHAOS (VOL. 2) mixes beautifully rendered art with incredibly emotional acting and writing to craft a story about living through trials, big and small.
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OZ: RETURN OF THE WICKED WITCH #2 is practically perfect in every way. The backstory and re-introduction of the Wicked Witch work on multiple levels, including her motivations. The plot has stakes, oodles of drama, and consequences. And the art is exquisite.
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PANTHA #2 is a fascinating, original adventure that weaves concepts of history, mythology, and modern horror in a smooth read. The amount of story and complexity is surprising given the number of pages, and the art is outstanding.
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PANTHA #3 is as good a comic as any on the market today with rich, complex character development, excellent pacing, and a whimsical monster adventure. The art team pulls out all the stops to match the quality of writing for a top-tier reading experience.
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PELLUCIDAR: ACROSS SAVAGE SEAS #1 is a pitch-perfect continuation of the ERB universe with smart, likable heroes, terrifying monsters, and a disaster that sets up a brand new adventure. The writing is tight, and the art is gorgeous.
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PELLUCIDAR: ACROSS SAVAGE SEAS #4 is everything you want out of a classic pulp adventure. Weird monsters, action pack battles, flawless pacing, and on-point dialog fill every single page. The art is some of the best around, and the writing nails the ERB vibe perfectly.
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PRAIRIE GODS #1 is a hard-hitting, dust-kicking tale about a retired driver who wants to beat the fastest thing in Heaven or Hell. Shane Connery Volk's Twilight Zone-ish vibe is super entertaining, and his art looks as good as ever.
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PRAIRIE GODS #2 is another entertaining tale of the supernatural in Shane Connery Volk's anthology series. Volk's story about a fugitive on the run who finds more than he bargained for is a perfect Tales From The Crypt material, and Volk's signature art style plays up the whimsical drama tenfold.
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PROJECT SUPERPOWERS: FRACTURED STATES #1 nails the classic superhero drama thats been so sorely missing from the Western Comics market over the last several years. The writing is effective and tight. The art is powerful and dramatic. And, the premise is perfectly situated to introduce new readers to existing characters while giving longtime fans a new experience.
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RABID WORLD #3 is a tense and exciting entry in the zombie genre with exceptional characters that act like real people. The art doesnt shy away from gore but does it in a practical way to elevate the storytelling. This is a must-have series for any zombie horror fan.
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RED SONJA (VOL. 5) #23 Review gives you everything you want in a sword-and-sandal comic. High-energy, high-tension battles, a villain you love to hate, and a satisfying conclusion. This comic is a very high recommendation.
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RED SONJA (VOL. 6) #1 takes the classic Badass and Child Duo trope in an entertaining direction. The writing is equal parts exciting and heartfelt, and the art puts energy and movement into every panel for a dynamic first issue.
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RED SONJA (VOL. 6) #4 is an outstanding entry in the current volume. The story raises the stakes to such a degree that theres no way to predict the outcome, who lives, and who dies. The art, especially during the magically explosive scenes, is bold and eye-catching, and the issue ends on a perfect cliffhanger.
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RED SONJA (VOL. 6) #7 is a stronger-than-expected continuation of the current arc with excellent character development, unique action scenes, choices that have consequences, and real stakes. The excellent writing is topped off with phenomenal visuals that squarely focus on making every panel as dramatic as possible.
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RED SONJA: THE SUPERPOWERS #5, available from Dynamite Comics on May 12th, 2021, is everything you want in a fun action comic. Excellent writing, outstanding art, and just enough tease at the end to set up what's coming next.
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ROBYN HOOD: GOLDILOCKS is a surprisingly strong character-building issue that gives readers a better appreciation for the character and plants a few seeds for a much bigger fight to come. The writing is great and the art is greater.
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ROBYN HOOD: HOME SWEET HOME is a surprising character piece that reveals the traumatic events of Robyns childhood to elevate the character with weighty amounts of emotional depth and growth. This feels like an important one-shot in the characters development. Coupled with the excellent writing is equally excellent art that echoes that greats like Frank Quitely.
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ROCKETMAN & ROCKETGIRL (ONE-SHOT) is everything you could hope for in a Golden Age story homaging the best serial adventures of the early 20th century. The art style, dialog, and overall aesthetic are phenomenal, and the adventure gives new readers a perfect jumping-on point for more.
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ROOK: EXODUS #4 is a glorious display of pulse-pounding drama and action on every single page. We've criticized the series for its lack of clarity on world-building, but this issue is so much fun that you can't help but marvel at the cinematic imagining of beasts at war. Geoff Johns has a winner on his hands, and Jason Fabok's art is simply stunning.
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ROOK: EXODUS #6 is a banger of a finale to the first arc with fast-paced action, stunning visuals, and a satisfying conclusion. Geoff Johns leaves some world-building questions unanswered, but he more than makes up for those gaps with edge-of-your-seat thrills. Plus, Jason Fabok's mesmerizing art is impossibly made better by Brad Anderson's surgically precise coloring.
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SEIS CUERDAS: DEFENDER OF MEXICO #2 packs a dramatic and powerful punch with both art and storytelling. The beauty of the bronze age style art is matched only by the sincere grittiness of the story.
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SEIS CUERDAS: DEFENDER OF MEXICO #3 ends a thoroughly entertaining throwback to Bronze Age comics with excitement, adventure, and pitch-perfect emotional beats that leave you smiling. This series is a keeper.
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SHADOWMAN #7 is a stellar entry in the series with epic battles, character development, big action, and big consequences. This series keeps getting better and better, and its the best thing Valiant is putting our right now. None of their other titles comes close.
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SHADOWMAN #8 is a stellar capper to the Shadow War event. The writing is top-notch from beginning to end, the conclusion is as satisfying as it is unexpected, and the art team is firing on all cylinders. Valiant couldnt hope for a better ending to one of the best events going.
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SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #4 is an exciting, action-packed, and dramatic entry in the series. Mooney pulls off the strong female character in the best way, and the art team is firing on all cylinders with pop and energy in every panel.
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SHERLOCK: A SCANDAL IN BELGRAVIA PART 2 #3 is a pristine adaptation of one of the best segments of one of the best BBC Sherlock episodes. The character reactions are so precisely nuanced, you can practically hear their thoughts screaming off the page, and when the big moment comes, Jay.s art chooses just the right angles and close-ups to give every second a powerful breath of life.
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SHERLOCK: A SCANDAL IN BELGRAVIA PART 2 #4 is a perfect ending to a perfect adaptation of the best episode in the hit series, Sherlock. The translation from television to comic is flawless, and Jay.s art style captures every nuanced layer of emotion for a surprisingly heartfelt ending.
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SHOWS END: THE SECOND COMING #4 is a prime example of a penultimate issue done right. The revelations are shocking, the main characters motivations are turned upside down, and the cliffhanger is explosive.
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SONJAVERSAL #8 tells a proper science fiction story about the last remnants of humanity fighting monsters, time, and starvation to find a new home after Earth is devastated. While the setting is about as far from sword & sorcery as you can get, the creators do an excellent job of maintaining the heart and soul of Sonja in a completely different context. While this is a stand-alone character spotlight, it seamlessly fits into a broader story tied to the first arc.
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STRAY #1, available now on ComiXology, is a thoughtful and soulful feast of visual storytelling. The art is gorgeous beyond anything we've ever seen for an indie project, and the writing reflects a rare combination of care and imagination.
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SWAMP DOGS #3 is yet another outstanding horror title from Scouts Black Caravan imprint. The writing captures the mood of evil depravity with a Bayou bent, the setup perfectly lays out the threat level and stakes for our protagonists, and the art is a perfect complement to the writing.
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TALES FROM NOTTINGHAM #1 is a stunning, standalone tale about one of the lesser-known characters from the original Nottingham series. The writing execution is excellent, the story is memorable, and the art is spellbinding.
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TALES TOLD IN TECHNIHORROR #1 ranks up with one of the best spiritual successors to Creepshow we've encountered in recent memory. The art is dark, the stories are darkly twisted, and the writing is tight enough to maximize every gut punch with brutal efficiency.
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THE BOOGYMAN #2 is another outstanding issue in a surprise series from Ablaze and Mathieu Salvia. Little bits of mythology add rich texture to a little boys race for survival, while the art bathes every panel in a dramatic mood and deadly magic.
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THE BOOGYMAN #3 is a banger of an issue with an escalating hunt for Eliot and Father Death serving as the backdrop for masterfully executed world-building that unveils the history of the Boogymen. The story flows like a dream (or nightmare), and the art is powerful.
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THE BOOGYMAN #4 reinforces why this series is one of our top picks for 2022. The breakneck pacing and dazzling supernatural action are matched by poignantly emotional moments and deep character development. Dont sleep on this series.
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THE BOOGYMAN #5 gives you everything you could possibly want in a dark fantasy comic. The story is packed with deep, complex emotions, edge-of-your-seat action, oceans of dramatic tension, and a killer setup for next months finale.
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THE ENFIELD GANG MASSACRE #1 follows up the acclaimedThat Texas Bloodseries with a mesmerizing murder mystery set in the Old West. Condons talent for establishing memorable characters and an intriguing plot in the space of a single heartbeat is matched only by Phillipss cinematic art style.
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THE ENFIELD GANG MASSACRE #5 brings Enfield down low when his bid for freedom comes to a bloody end. Chris Condons twists and turns will keep you riveted, and Phillipss art blisters with blood and heat.
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THE LAND THAT TIME FORGOT: FEARLESS #1 takes everything magical about the original Edgar Rice Burroughs story and continues the journey in creative yet faithful ways. The art is bright and imaginative, and the writing feels authentic on every level.
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THE MADNESS #1 is a hard-hitting, dramatic, super-smart story of revenge in a world filled with superheroes. Straczynski lays out a pitch-perfect revenge story, dripping with drama and character motivation for one of the best new character debuts in some time.
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THE MADNESS #2 does exactly what every comic should do make you feel something. In this case, Ravens emotions practically vibrate off the page with an overwhelming feeling of rage. Straczynski gives you an emotionally charged issue as Raven lays waste to her enemies, and ACOs art is unforgettable.
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THE MAGIC ORDER (VOL. 5) #2 is a fast-paced thriller that masterfully incorporates a gritty thriller with believable whimsy. Mark Millar's engaging script keeps you hooked from start to finish, and Matteo Buffagni's art style is a perfect match for the material.
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THE SACRIFICERS #1 is a shockingly deep, heartbreaking, whimsical tale about the domestic troubles of a father who happens to be a god, and the painful struggles of a farming father bound by service to the gods. You could spend days unpacking the layers of meaning and messages in Remenders emotionally deep story, and Fiumaras art is heart-achingly good.
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THE SACRIFICERS #2 is an emotional rollercoaster exploring how different people from different walks of life perceive an unavoidable fate. Reminders writing is the best its ever been, and Fiumaras art delivers one gut punch after another.
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THE SACRIFICERS #3 shocks you with a tragic development you hoped would never come. Remenders script roils with paranoid tension in seemingly harmless moments, and Fiumaras whimsical art makes the shocking twist heartbreakingly painful.
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THE SACRIFICERS #5 delivers a knockout punch of an issue when the Princess learns the secret of the Foremans elixir. Remender builds momentum throughout the fast-paced issue with an unforgettable ending, and Fiumaras art is fantastic.
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THE SACRIFICERS #8 hits you like a freight train when Pigeon's surprise return sparks outrage, heartbreak, and zealotry. Rick Remender's tale of a lost soul accepting his place in the world is a powerhouse, and Max Fiumara's emotionally impactful art is gorgeous.
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THE SACRIFICERS #12 is a gripping, weighty issue that strikes a mesmerizing balance between big action and deep emotion. Rick Remender's fantasy tale refuses to give you easy resolutions or happy endings, but it somehow remains one of our top comics on our must-read list. Plus, Max Fiumara returns to art duties to cement this issue's status as a pure winner.
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THE SHEPHERD: THE VALENTINE #1 is a thoroughly heartfelt, heartbreaking, and terrifying issue. The art is creepy and atmospheric, the emotional beats hit like a sledgehammer, and the horrific cliffhanger ending will stick with you.
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THE WINCHESTER MYSTERY HOUSE #3 concludes the volume with subtle chills leading into big thrills for a banger of a conclusion. Werner amps up the tension and pace in the last act for a fitting close to a strong arc. The art is gloomy and creepy in all the right spots. You couldnt ask for a better ending.
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TRANSFORMERS #11 is another banger of an issue with cool characters, high stakes, epic visuals, surprisingly complex themes, and emotional depth. Daniel Warren Johnson is giving this series his all, and Jorge Corona's turn as the artist on the title is turning out to be an absolute win.
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TWIZTID: HAUNTED HIGH-ONS: THE CURSE OF THE GREEN BOOK #2 is a fun, spooky, and thoroughly entertaining Voodoo mystery set in the heart of a New Orleans swamp. The writing is pitch-perfect for the characters and the tone of the story, and the art is technically flawless. This series is turning out to be the most entertaining offering from Source Point in some time.
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VAMPIRELLA/DRACULA: UNHOLY #6 is a satisfying ending to an emotionally complex and surprising series from Priest. The pacing, plot, and dialog all work well. The art is creepy. And the last page ending has a shocking moment rife with storytelling potential.
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VAMPIRELLA STRIKES #8 kicks the world-ending stakes up by a factor of 10 with an all-out cyber-demonic slugfest. Sniegoskis (re)introduction of Jezebel is a perfect jumping-on point for new readers, the world-ending stakes havent reached this level since the Mistress Nyx arc, and the art is phenomenal.
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VAMPIRELLA STRIKES #9 sticks the landing to end the Blood Red Queen of Heartss arc for now. The action is fierce, the drama is dialed up to the max, and the conflict ends with a bang while leaving room for more in the future.
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VAMPIRELLA STRIKES #10 kicks off a new arc with an emotionally powerful murder mystery that forces Vampirella to assume the role of peacekeeper and avenger. The victims story will have you hooked from the beginning, making Vampirellas job all the more personal.
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VAMPIRELLA STRIKES #11 assaults the reader with raw, painful emotion through Vampirellas grief over her murdered lover. The emotional moments hit you right between the eyes, and Laus art is powerfully moody.
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VAMPIRELLA STRIKES #12 elevates the traditionally campy horror of Vampirella comics into a tense, psychological thriller that would work well as a David Fincher film. The serial killer plot is enhanced by complex emotions and situations that are uncomfortably relatable in a real-world context.
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VAMPIRELLA STRIKES #13 brings the serial killer story to a close with a massive twist, a new status quo, and the promise of an Apocalypse. Sniegoski is proving to be a clever fox by hiding such a big twist in plain sight, and Jonathan Lau's art is powerfully dramatic.
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VAMPIRELLA VS. RED SONJA #2 exponentially escalates the stakes, the drama, and the action in a series that taps into everything you love about superhero comics. The plotting, pacing, action, dialog, and drama are practically perfect, and the art looks great.
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VAMPIRELLA VS. RED SONJA #4 hits the nail on the head for a multi-character, multi-universe adventure with layers of conflict, action, and drama. This issue is as close to an event book without technically calling it an event book. If not for a little lack of detail in the art, this issue would have earned a perfect score.
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VAMPIVERSE #6 is a gut-punch of spectacle and emotion. When the Artists identity is revealed, the true nature of this series comes into focus as something infinitely more important than an adventure through the multiverse. Its a love letter to a very special person, and that makes all the difference in the world.
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VAN HELSING: HOUR OF THE WITCH is a fantastic Annual filled with a rich backstory, plenty of monster-slaying action, and the beginnings of a powerful hero partnership Shand makes excellent use of previous issues to fill out this triple-sized issue with depth instead of fluff, and the squad of artists hides the artist transitions so well, the high-quality art remains consistent throughout.
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VAN HELSING: VAMPIRE HUNTER #2 is a fantastic comic book, delivering action, pacing, drama, and intrigue. Fans of the Van Helsing character and classic vampire stories wont be disappointed.
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VENGEANCE OF VAMPIRELLA #19 exemplifies the best kind of crescendo when building up a story over several issues. The writing builds excitement and anticipation before the first punch is thrown, and the art keeps getting better.
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VENGEANCE OF VAMPIRELLA #22 is the perfect conclusion to a simple yet effective short adventure for the alien vampire. The writing makes you love to hate the creepy villagers, which makes their fitting end so, so satisfying. And Sta. Marias art isnt afraid to show bloody (and fiery) death in all its glory for everyone who deserves it.
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WE ARE SCARLET TWILIGHT #1 is a surprisingly intriguing pulp superhero adventure with a twist you won't see coming. The writing execution harkens back to the best classic pulp adventures of the 1930s, and the art is fantastic.
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WE ARE SCARLET TWILIGHT #2 brings all the whimsical and wild wonder of classic pulp serial adventures into comics when Captain Lancet wakes up in a modern world ruled by vampires. The plot overflows with imagination, and the art is fantastic.
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WE ARE SCARLET TWILIGHT #4 ends the imaginative cyberpulp series as strongly as it started with exciting action, a surprise conclusion, and immaculate art. If this debut is any indication of the future, were looking forward to more adventures starring Captain Lancet.
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WE DONT KILL SPIDERS #3 is an excellent amalgam of demonic mysticism, Viking lore, and detective noir rolled into one seamless package. Readers get an immense amount of information surrounding the mystery in a shockingly short amount of time, but the pacing never drags or feels rushed. The gritty art enhances the atmosphere of the Dark Ages setting, and Schmalkes effective use of color hits you like a sledgehammer with mood and drama.
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WE WICKED ONES #1 begins an impressively well-crafted (in both art and writing) about a powerful witch who makes a living as a top-tier assassin. Dueys writing execution is darn near flawless, and the art is top-notch.
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WHITE ASH (S2) #1 is a rich, complex tapestry of plot threads about a town going through upheaval. All the characters have their unique charms and secrets to hide, which makes for an issue that gives the best of daytime soap operas a run for its money. While the soap operatic storytelling gives readers plenty of juicy twists and turns to chew on, it can be overwhelming at times to keep it all straight. If youre of a mind to dig deep, youll be rewarded with an engaging story enhanced by stellar art.
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WIKA, available from Titan Comics on March 16th, 2021, takes the concept of fairy-centric graphic novels to another level. The art is impressive in its detail, scale, and beauty, and the writing is equally massive in scale and wonder.
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DOCTOR WILDER #3 is another kickass issue in the series with excellent pacing, natural dialog, plenty of emotion and action, and plot developments that have real consequences for the characters. If youre looking for a well-written thriller with a sci-fi twist, this issue is the one to beat this week.
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DOCTOR WILDER #4 is a fantastic issue leading heading towards the finale of this ar. The writing is smart and efficient, layered with a copious mix of emotion and action. The art team is turning in some of the best visuals on the market today. And the ending leaves the heroes cornered with no clear means of escape, making for a near-perfect cliffhanger.
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KISS ZOMBIES #5 pulls off the impossible by being completely entertaining despite its premise. The story is played straight in perfect contrast to the concept, and the art is solid all the way round. A pleasant surprise.
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REAVER #8 packs as much character development punch as action in a brisk 21 pages. The artwork pops precisely when it needs to for maximum effect and the story sets up a desperate showdown with Stagger. This series is improving with each issue.
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RED SONJA VOL. 3 #16 takes a pulpy character and turns in a thoughtful story on the war's impact on innocent children. The writing is well-balanced for the subject, and the art is deceptively emotional. Great job all the way around by the creative team.
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RED SONJA: AGE OF CHAOS #4 is a masterclass in ensemble storytelling combined with next-level art. The entire creative team brought their A-Game with this issue.
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RED SONJA: AGE OF CHAOS #5 is my weekly top pick for the second issue in a row. The story practically drips with adrenaline, the art is exciting. Don't sleep on this book.
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PRAIRIE GODS #3 is another winning entry in the anthology series about a very old man with a strange tale to tell. Shane Connery Volk's Twilight Zone-inspired story vibe is a winner, and his art style expertly presents an atmosphere of otherworldly mystery.
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DEJAH THORIS #5 has dynamic art, urgent and tense story pacing, and imaginative visuals. Strongly recommend you get this issue...unless you're deathly afraid of spiders.
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DUKE #5 offers lots of action, great drama, and emotional depth. The entire mini-series ends with a new status quo, bringing at least this portion of GI Joe more into the Energon Universe. Overall, its a solid issue. We enjoyed it a lot.
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CLASH OF KINGS, VOL. 2, #3 stays true to the source material and is a must-read for any Game of Thrones fans. However, don't pick this up if you haven't read the previous issues first or don't know the source material.
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STAR WARS: BOUNTY HUNTERS #3 unveils the answer to a lingering mystery and turns the action up full blast. The art is exciting, and the story engages the reader equally well in both action and dialog.
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THE CROW: LETHE #2 pulls you into a world that's almost real for a thriller filled with truly evil villains and big, bloody battles. The characters are bizarrely fascinating, and art team hits all the right notes for a Crow story. Worth picking up.
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THE SAVAGE SWORD OF CONAN #5 delivers three entertaining tales of Conan's adventures as he battles witches, sea monsters, and deadly thieves. Jason Aaron's tale of woe takes up the lion's share of the issue for a double-sized adventure that looks as great as it reads, and the shorter stories from Jim Zub and Michael Kogge are excellent.
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WYND #1 is a promising start to a completely new property. The art is whimsical and fun, and the story starts a lot of threads that begs more than a few questions. I'm looking forward to seeing what happens in the next issue.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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!!!
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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BUZZARD! #1 is weird, wild, dark-humored, and thoroughly entertaining. The art conveys creates a great contrast between the believability and the absurdity of each situation, and the story begs to be continued.
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BY THE HORNS #2, available from Scout Comics on May 26th, 2021, gives readers fantastic art, a more complete picture of the main character, and tons of exciting adventure.
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BY THE HORNS: DARK EARTH #7 takes an odd yet surprisingly profound detour from the main arc for an Evelyn-centric issue discussing the highs and lows of loneliness, love, depression, and happiness. The writing is powerfully poignant, and the art is exquisite.
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CAT-MAN AND KITTEN (ONE-SHOT) is pure, wholesome, Golden Age fun. Jeff Parkers script nails the tone and the aesthetic of the time period, and Coopers art expertly balances modern comic quality with dated designs for an adventure thats all about fun.
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CHARRED REMAINS #1 begins a creepy urban legend horror story about a traumatized woman hunting for the demon that sets fires. Clevelands story gets off to a great start with excellent pacing, dialog, and shocks, while Muttis exceptional art packs in creepy visuals and an atmosphere of fear.
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CHESS #4 is an excellent action/adventure, super-team comic with clear writing, clear stakes, clear motivations, and high energy. The art is good to very good if youll excuse a little inconsistency in the character proportions.
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CHILDREN OF THE BLACK SUN #3 is another slow-burn masterpiece of building dread and tension. The story appears to be taking its time, but every scene is important, and each scene stacks on top of the previous one until the creepiness gets under your skin.
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CHILDREN OF THE BLACK SUN #4 takes the creeping, unrelenting feeling of dread built over the previous three issues and delivers a hard-hitting cliffhanger for whatever comes next. Sicchio's script is unsettling, Cadonici's art is disturbing, and Segala's colors give the story an extra kick for good measure.
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THE CIMMERIAN: HOUR OF THE DRAGON #1 is peak Conan from the man who started it all. The adaptation works well in a comic format without losing any of the essences of the original story, and the art exudes a dark, brooding power that fits the titular character perfectly.
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COBRA COMMANDER #1 leans into the science fiction elements of G.I. Joe, expands on the Energon Universe, and elevates Cobra Commander to an A-Tier villain, all in the first issue. For all of Williamsons troubles at DC, he may have found his truer, better calling with this series.
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COBRA COMMANDER #4 delivers an action-packed installment that advances the series overarching narrative. Despite some minor flaws in plot execution and art quality, the issue succeeds in delivering thrills and excitement to readers with its compelling characters and tantalizing twists.
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CONAN THE BARBARIAN #7 is a superb comic. It delivers a compelling atmosphere, intense swordplay, mystery about the future, and a last-page reveal that will delight long-time Conan fans.
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CONAN THE BARBARIAN #10 is a comic with fantastic Bronze Age-styled art, grim, gritty barbarian action, and an authentic connection to Robert E. Howards storytelling style. If you want a Conan comic, this is as good as its going to get, and it gets pretty darn good. We highly recommend it. If youre not reading this issue or if youre not reading the series at all but you are a Conan fan or Robert E. Howard fan, you are missing out.
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CONAN THE BARBARIAN #13 begins a new quest for Conan in the frozen wilderness North of Cimmeria, but this time, he's on a journey to find Crom. Jim Zub delivers all the hallmarks of a classic Robert E. Howard story, with the added twist of a universally relatable mission. Plus, Doug Braithwaite takes over for Robert De La Torre, and the art quality doesn't drop one iota.
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CONAN THE BARBARIAN #14 is another killer (no pun intended) issue that reminds readers that Conan and the world he travels in have multiple layers ripe for exploring. Jim Zub takes what would be a boilerplate story in lesser hands and creates intrigue on multiple levels. Plus, Doug Braithwaite's deceptively detailed art is outstanding.
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COUNT DANTE #1 is a sharp, hip, grimy, and unexpectedly funny autobiography of the world's most infamous martial artist. Barbour's script touches on the highlights of the real man's life, while taking just enough liberties to inject drama and humor, and Watson's art is excellent.
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COUNT DRACO: KNUCKLEDUSTER #1 is a prime example of classic sci-fi serial storytelling from the 1930s and 40s. Everything from the texture of the pages to the design of the costumes feels authentic to the era, and the writing plays for maximum drama. This is a strong recommendation for lovers of classic sci-fi serials.
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COVER OF DARKNESS #1 is a near-perfect start for a monster mash of classic Hammer Horror proportions. The atmosphere is cinematic, the monster designs are eerily authentic and scary, and the writers smartly anchor the story around an imperfect family. At points, there are a few too many characters introduced to keep the story straight, but the positives greatly outweigh the negatives.
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COVER OF DARKNESS #2 is an outstanding take on the classic monster genre, with true horror, fangs, claws, blood, and more. The character origins give each monster depth, the human-ish characters are flawed enough to make their actions and future unpredictable, and the artist presents some truly dangerous and intimidating creatures. If youre a fan of monster horror, this is a must get comic.
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COVER OF DARKNESS #3 is a delight of monster goodness from start to finish. The character designs are terrifying. The clever, reimagined versions of classic monster origins open the door for a whole new range of original stories. And, sketchy art somehow makes the monsters that much scarier.
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COVER OF DARKNESS: FEMME FATALES is the latest anthology in the Cover of Darkness series, and its possibly the best offering to date. The four shorts vary in writing and art style, but all have a clever twist on classic stories, and the overall quality is excellent.
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DAHLIA IN THE DARK #1 takes the criminal courier story, sets it in an urban fantasy world, and sprinkles on a dash of noir aesthetic for a new and interesting story idea. The story elements hit perfectly, and the art is fairly good. This is a dead-center hit for a first issue and worth your time.
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DAHLIA IN THE DARK #2 is another successful entry in the series as the 90s-style action ramps up when the noose of competing gangs tightens around Donny, Molly, and Luna. The snappy dialog complements excellent pacing, surprising twists and turns, and a killer cliffhanger.
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DAHLIA IN THE DARK #3 is another excellent entry in the urban fantasy/crime thriller mashup series about a bagman on the run with a fairy princess. The balanced mix of world-building, character-building, and plot progression is excellent, and the art is solid.
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DAMNED, CURSED CHILDREN #5, available from Source Point Press on May 26th, 2021, takes the best of zombie outbreak/plague stories and creates a taut thriller filled with scares, drama, and gore. This is an excellent series for any horror fan.
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THE DARK AGE #7 wraps up the series with a newfound appreciation of Earths past and hopeful signs for a bright future when were ready. The writing is breakneck quick, and the art, despite a transition in the art team from the previous issues, doesnt miss a beat.
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DARKLAND #1 kicks off a fanciful, engaging sci-fi adventure about a conscripted bounty hunter enlisted to find a special girl. The writing and art execution are excellent, and the story is interesting enough to hook you for the next issue.
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DARKWING DUCK #1gives OG Darkwing Duck fans and new readers plenty of good things to quack about. The writing and art nail the original cartoons look and feel with a fun, family-friendly adventure sure to put a smile on your beak err, billerr, face.
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DARKWING DUCK #2 is another winner in Dynamites latest run at Darkwings adventures. Quackerjacks arrival and plan are amusingly wacky. The action reflects everything you want to see in a Disney kids cartoon, and the cliffhanger ending delivers mounds of intrigue.
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DAVID BYRNES CANCELED is a novel experiment in horror storytelling. Rather than taking a familiar horror trope and expanding on it, Byrne takes several tropes and blends them together for something completely new and entertaining. The art in the first decade of the story is excellent, but the remaining decades (attributed to other artists) vary in quality.
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DEAD KINGDOM #1 is a surprisingly effective start to a zombie thriller with a unique setting, memorable characters, and a mystery about the protagonist brimming with intrigue.
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DEAD KINGDOM (VOL. 2) #1 kicks off the return to the Middle Ages zombie plague story with a renewed team, better focus, and dangerous surprises. Derepentigny returns to the series with better pacing and plot development for a more enjoyable reading experience, and the art is consistently solid.
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DEAD KINGDOM #2 is a rock-solid sophomore issue in the series where Kain is forced to fight humans who have become just as dangerous as the zombies through fear and panic. The characters feel authentic, the action is well-paced and choreographed, and the ending packs an intriguing punch.
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DEAD KINGDOM #3 takes a break from the present to outline Kains evolution into an elite soldier and the heartbreaking event that scarred him for life. The emotional beats are powerful, the violence is brutal, and Derepentignys art captures it all flawlessly.
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DEAD KINGDOM (VOL. 2) #3 is a rollercoaster of action and revelation. It not only answers burning questions but also expands the narrative landscape. The imaginative artwork enriches the storytelling, creating a visually stunning experience. The outcome of the story resonates with past events, shaping the present and hinting at a captivating future.
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DEAD KINGDOM #4 paints a world on the brink of death as a handful of survivors band together and vow to keep going. The characters eyes speak as much as the dialog, and the cataclysmic swarms of zombies bring home the atmosphere of a world on the precipice. This is powerful storytelling, and a surprising amount is still waiting to be told.
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DEATH COMES FOR THE TOYMAKER #1 recasts the Santa Claus story you thought you knew into a poignant fantasy about a Toymaker locked in an eternal deal with Death. Dakota Brown mixes in aspects of myth and folklore to create a completely new take on a familiar legend for a compelling fantasy.
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DEJAH THORIS VOL. 3 #6 is a great mix of action, adventure and detective work. The writing is high quality pulp adventure, and the art team is firing on all cylinders. The cliffhanger ending will leaving you wanting more.
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DEJAH THORIS (VOL. 3) #10, available from Dynamite Comics on February 10th, 2021, brings perhaps the final war to Mars. The world feels lived in and authentic. The characters act and speak with genuine desperation. And the art suits this dying, barren world perfectly.
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DEJAH THORIS VS. JOHN CARTER OF MARS #2 takes a big step forward in amping up the separation by giving us a villain you love to hate, a seemingly impossible trap to escape, and hero moments aplenty. The art represents a great example of acting-through-drawing and the cliffhanger is a spot-on example of building anticipation.
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DIE!NAMITE LIVES! #1 packs in tons of Ash Williams and Evil Dead fan service and merges it seamlessly into the DIE!namite storyline. The signature black humor lands well, and the art depicts the ridiculous premise seriously for a thoroughly enjoyable read.
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DIE!NAMITE NEVER DIES #1 is a sometimes wacky, sometimes gory, but always fun first issue in the next arc of the DIE!namite saga. The mildly black humor mixed with over-the-top action and violence seems intentionally geared to entertaining readers with every page turn. If you want mindless, crazy big fun, this is an excellent start.
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DIE!NAMITE NEVER DIES! #2 is another banger of an entry in the zombie series that throws in everything plus the kitchen sink while maintaining a sense of purpose and direction that flow evenly. The action is fast-paced and presents heaps of story development, and the art team executes well on every level.
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DIE!NAMITE LIVES! #3 cranks up the pacing, over-the-top antics, and fun to 11. Van Lentes characterization of characters from other media is spot on, the energy from cover to cover never stops, and this comic is a Hell of a lot of fun.
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DIE!NAMITE NEVER DIES! #4 does what every comic should do prioritize fun and excitement. The story is faster than an Olympic sprinter whos had too much coffee, but the plot never feels confusing or rushed. The art complements the writing in timing and tone, and the end result is a wild adventure.
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DIE!NAMITE LIVES! #4 captures the spirit, tone, and fun of an Army of Darkness story while poking fun at the military and big box stores at the same time (Is there anything S-Mart doesnt carry?). The art is packed with equal parts action and gore, and the plot makes a respectable amount of progress toward a bigger conflict.
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DIRT WITCH (ONE-SHOT) is a excellent homage to 1980s Satanic Panic-inspired films with a malevolent and hungry creature summoned by playing a record backward. McCarthys concept and script execution is on point, and Tikass creature design is the stuff of nightmares.
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DISNEY VILLAINS: HADES #1 nails the snappy, witty, amusing charm of the Hercules prequel story about Hadess attempt to destroy the gods by stealing the Golden Fleece. Kalan expertly recreates the voice and personality of Hades from the Disney film, and the art looks great.
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DISNEY VILLAINS: HADES #2 embodies, the charm, wit, humor, and action of the source material for the most faithful adaptation yet from Dynamite. Kalans rock-solid script balances quick-hit jokes with a surprisingly good adventure, and Ranaldis art is pitch-perfect.
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DISNEY VILLAINS: HADES #4 ends the battle for the Golden Fleece, but the worlds troubles are just beginning. Kalans energetic script is an entertaining mix of action and humor, and Ranaldis art is perfect.
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DISNEY VILLAINS: SCAR #1 is a treat for Dieny fans who want to know more about The Lion King's villain through his own side story. Chuck Brown's script captures Scar's voice perfectly, and the art looks fresh but familiar.
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DISNEY VILLAINS: SCAR #3 precisely interweaves Scar's backstory into the events of The Lion King to show how he gained his now-familiar allies. The characterizations, setting, and plot development are on-point, and the art looks great.
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DISNEY VILLAINS: SCAR #4 brings the prequel mini-series to a close with villainous plans, double-crosses, and a seamless transition into The Lion King. Chuck Brown nailed the assignment to enrich Scars backstory without changing his villainous status, and Trevor Fraleys art is perfect.
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DJINN HUNTER #1 wastes no time building an entire world of characters and conflicts through expert storytelling and eye-catching art. This is a recommended pick for anyone looking for a fresh take on a fantasy adventure.
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DJINN HUNTER #3 continues to set a high bar for action/adventure/fantasy comics with a zombie attack just in time for Halloween. The action is exciting and develops the characters through the battle, the plot tells a complete chapter and furthers the overarching quest, and the surprising twist ending heightens anticipation for the next issue.
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DJINN HUNTER #4 is another standout entry in an already standout series from Blackbox. Sandlins writing is epic in scale and moving in emotional depth. Consentinos art is top-notch with clean, crisp lines, and exciting colors.
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DONT SPIT IN THE WIND #1 takes the concept of WALL-E for adults and gives it a satirical edge that makes for an entertaining first issue. Cardosellis storytelling about cynical trash cleaners adds a murderous twist to an intriguing mystery, and Dan Lees coloring makes Cardosellis unique art style significantly better.
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DOWNLOAD #2 takes the setup from issue #1 and builds on it for an amusing, energetic, and thoroughly entertaining issue. Mixing adventure with light comedy, this issue reminds you what its like to have the curious spirit of a kid exploring the world.
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DOWNLOAD #4 is a fun end to a fun series with the door wide open for more. The alien threat feels genuinely dangerous, the kids escalate the pacing by running for their lives almost the whole way through, and the ending is plenty satisfying.
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DRACULINA #3 is a satisfying entry in the series. Priest uses the forward momentum of the plot and the flashbacks to fill in gaps and connect dots from previous arcs to clarify who (what?) Katie really is. While the narrative flow is occasionally jarring from hard scene transitions, the story is interesting, and the art is phenomenal, particularly due to coloring.
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DRAGON WHISPERER (VOL. 2) #1 is a very strong start to a new volume about the worlds only dragon whisperer and her quest to help magical beasts in need. The tone, dialog, plot, and execution are perfect for readers of all ages.
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DUKE #1 is a taut, tense espionage thriller that puts Duke on the run from a shadowy corporation and the government he served. Williamson crafts an excellent espionage story with layers of conspiracy and paranoia, and Reillys art is a perfect fit for Williamsons script.
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EDENFROST #1 is a beautifully rendered, gripping, historical fantasy tale about siblings on the run from Russian soldiers and a stony giant. Tishlers script dares you not to care about two children running from a cold, cruel world, and Frendas art is immaculate.
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ELVIRA IN HORRORLAND #2 is a heck of a lot of fun, especially if youre a cinephile. The jokes and film references can be overwhelming in spots, but the jokes are witty, the art is delightful, and everything around the story centers on 4th-Wall-Breaking fun.
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ELVIRA IN MONSTERLAND #2 cranks up the references, puns, and humor to make a monster movie buff proud. The writing is well-paced, well-constructed and sets a solid foundation for an intriguing mystery, and the art team captures the actor likenesses beautifully.
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ELVIRA IN MONSTERLAND #5 ends the monstrously fun adventure with a flashback, heroes to the rescue, and a battle to end all battles. Avallones pop culture magnum opus is a monster movie fans dream, and Kewber Baals art is fantastic.
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Despite some reservations about the tone, ELVIRA MEETS H.P. LOVECRAFT #2 is praiseworthy for its pacing, action, and humor. It caters well to fans of both Elvira and Lovecraft with a unique mashup of styles and personality.
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ELVIRA MEETS H.P. LOVECRAFT #3 excels in delivering action-packed storytelling with unexpected twists. Despite minor flaws, the issue stands out for its engaging plot and impressive artwork. Overall, it earns a well-deserved score for its technical execution, surprises, and entertainment value.
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ELVIRA MEETS VINCENT PRICE #5 has no connection to the preceding arc, but its so much fun, you dont mind at all. The writing is lovably, nostalgically corny. The art captures the essence of two legends in the horror movie biz. And the story works as a perfect epilogue and setup for a future adventure.
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ENGINEWARD #1 is a strong blend of future dystopia with ancient myth. The story is both new and loaded with deep cuts that will keep you thinking long after you finish reading. A solid first issue. Check it out.
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ETERNAL THIRST OF DRACULA (BOOK 3) #1 cherry picks everything you love about 70s-era horror flicks, right down to the fashion and settings, for a mondo cool story. The character designs are amazing (Vampire Gorillas?!?), the fashion is a perfect fit for the period, and the deepening mystery about the source of the Tainted Ones will keep you guessing until the next issue.
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EVIL ERNIE (VOL. 3) #1 captures the exact spirit of the titular character with a completely new origin story. The art is great, the story is buttery smooth and easy to follow, and the ending is just enough of a tease to leave you wanting more.
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EVIL ERNIE (VOL. 4) #3 concludes the origin setup for Ernest Glickman and moves into full quest mode. The stakes are rise through the roof clearly and concisely, and the change in Glickmans personality subtly affects his relationships in surprisingly nuanced ways. The art is gory, violent, and filled with gleeful mayhem.
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EYE LIE POPEYE #1 is a fresh, entertaining take on the modern adventures of the world's greatest spinach-eating sailor. Marcus Williams maintains the look and spirit of the original comic strip while infusing the story with fresh energy and bolder ideas that read like a Dragonball-Z script. If you've ever wondered what a Popeye/Dragonball mashup would look like, or if such an idea has never crossed your mind, it's all right here, and it works.
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FALLEN #1 begins an intriguing murder mystery among the gods who have been cast down to Earth. The character- and world-building are excellent, and the stellar art gives you just a hint of the supernatural to show how the gods manage to stay hidden in plain sight.
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FALLEN #6 ends the mini-series as strongly as it started with a gritty confrontation between Casper and Osiris. Ringel wraps up all the threads neatly with an emotional rollercoaster, a satisfying conclusion to the conflict, and a small seed planted for more in the future.
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FIGHT CLASS 3 (VOL. 1) takes a wimpy high schooler and puts him on a selfless hero's journey filled with drama, action, and surprises. The hero pursues an impossible goal with a twist, and the art gives readers a masterclass in MMA fighting techniques.
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FINAL FIGHT #1 is a simple, straightforward, and thoroughly entertaining video game adaptation that respects the source material and is presented with fantastic art. This issue proves that you don't need to update a classic for modern audiences when the original is just fine the way it is.
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FINAL FIGHT #2 takes everything you love about the classic video game franchise, repeats what works, and wraps it in a rock-solid action story. Moylan demonstrates a pitch-perfect understanding of how to adapt a classic property, and the art team nailed the visuals.
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FISHFLIES #1 is a surreal, heartfelt fantasy about a young girl who shows kindness to a robber and the whimsical evolution their eclectic relationship takes. Lemires art conveys just as much meaning as the words on the page, and the cliffhanger brims with uncertain possibilities.
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FLASH GORDON #2 delivers a super strong pulp adventure when Flash continues his bid to escape Planet Death. Jeremy Adams's tale evokes all the classic elements of a pulp serial adventure, and Will Conrad's detailed art is fantastically fantastic.
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FLASH GORDON #3 is another winning issue that gives readers a look into Ming's past to show how much trouble Ming will be for Flash's future. Jeremy Adams delivers fantastic character work, action, and adventure, and Will Moss's artwork is stellar.
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FLASH GORDON #5 is a surprising issue that re-introduces one of Flash Gordon's most important characters to the series in a completely unexpected form. Jeremy Adams is taking the spirit of fun and adventure to heart with another strong issue, and the expanded art team maintains the highest quality levels.
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GI JOE, A REAL AMERICAN HERO #274 is everything you love about afternoon action cartoons brought to life in a comic. The writing is heart-pumping, and the art is eye candy overload. I can't wait for the final issue of this arc.
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G.I. JOE: A REAL AMERICAN HERO #302 brings the Joes home in a big way just in time for the biggest challenge of their lives against a new and improved(?) Serpentor. Hamas writing on the Joes hasnt missed a beat since the move to Image, and Mooneyham turns in career-defining work (lets get Mooneyham on Sgt. Rock).
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G.I. JOE: A REAL AMERICAN HERO #303 keeps building the growing threat of the mutant Serpentor and his superhuman army as the series builds to an eventual invasion of Springfield. Hamas story stacks and builds Serpentor as a greater threat, and Mooneyhams gritty, macho art is fantastic.
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G.I. JOE: A REAL AMERICAN HERO #311 takes readers on a wild ride as the battle for Springfield rages, with the momentum shifting to and fro at a moment's notice. Larry Hama gives you all the hardened battle action you can take, and the return of Chris Mooneyham results in a comic that's never looked better.
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GARGOYLES #6 is a surprisingly complex and expertly-crafted chapter about the contentious relationship between humans and gargoyles set against the backdrop of a perfectly orchestrated mob war. Each plot thread could work as a standalone story with plenty of drama and action to keep readers invested, and the art is very good.
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GARGOYLES: DARK AGES #3 brings the war with King Culen to a close but foreshadows familiar troubles on the horizon. Weisman wraps up the war in a satisfying package, and Mosss Disney-styled art is on point.
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GATCHAMAN #1 is a faithful start to a modern take on the classic anime with source-accurate character designs and situations. Cullen Bunn adopts the pacing of the original anime, jumping straight into the action, and the art team's delivery is spot-on.
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GATCHAMAN #2 is a high-flying, action-packed adventure filled with drama, intrigue, and excitement. Cullen Bunn's script is as faithful to the spirit and style of the original Gatchaman as you can get, and the art team's reverence for the classic design and aesthetic approaches perfection.
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GATCHAMAN #4 is a non-stop action fest that forces Jun the Swan through a gauntlet to escape an enemy base. Cullen Bunn takes the fast-paced adventure of the original anime to heart to keep readers' hearts pumping, and the art team's output looks amazing.
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GOOD BOY #2 is a surreal retelling of John Wick that works because the writing and character acting through the art is played 100% straight with the same seriousness and grim determination of the original film. Wisely, the creators stay away from obvious puns and cheap laughs to give readers an authentically hard-boiled revenge thriller.
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GOOD BOY (VOL. 3) #2 unveils the mysterious villains and motivations behind Flint Sparkss kidnapping with a direct homage to John Wick: Chapter 2 that honors the source material but adds a fresh spin to the story. The writing is razor-sharp and entertaining, and the art is deceptively complex.
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GOOD BOY (VOL. 2) #3 takes a slight breather from the action to flesh out the old characters, introduce new ones, and move all the players in place for what promises to be an epic showdown. The writing is heartfelt in the best way a brothers-in-arms story can be, and Waliss art adds unexpected whimsy and emotion in the unlikeliest of places.
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GREEN HORNET: ONE NIGHT IN BANGKOK delivers plenty of bare-knuckle fighting, shootouts, and crime-stopping heroics to satisfy every crime thriller taste. The revenge plot spans generations but is easy to absorb, the action is gritty, and the resolution leaves room for more.
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GRETEL: MORTAL VICES is an above-average witch hunt for the titular hero and her partner. The art is top-notch, and the writing execution is excellent, but this one-shot is better than most because it forces the hero to make a deadly choice that will have life-changing consequences for her future.
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GRIMM FAIRY TALES (VOL. 2) #52 is simple, pure, action/adventure fun. The creators zero in on exactly what makes multiverse-hopping adventures so interesting and pepper in all the imagination and Easter Eggs you could hope for. The action is tight and energetic, and the cliffhanger ensures the battles just begun.
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GRIMM FAIRY TALES (VOL. 2) #53 is the closest and best example of an action-packed video game translated into comic book form. The fuel-injected pacing never lets up, the art boldly holds your attention, and the cliffhanger ends at just the right moment to leave you wanting more.
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WONDERLAND ANNUAL: REIGN OF MADNESS fleshes out a full epic about sisters brought to opposite sides of the war for Wonderland. The art is typically good Zenescope quality and the writing packs in a ton of story and character development for a deceptively quick read.
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GRIMM SPOTLIGHT: MYSTERE DIVINITY is one of the better one-shouts from Zenscope in recent memory. Readers get a new villain with plenty of future potential, the art is excellent, Brusha balances the line between faith and mysticism with aplomb, and the overall issue is a fun read.
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GRIMM SPOTLIGHT RED AGENT: FRIENDLY FIRE hits the ground running with a unique spy adventure/ supernatural mashup sprinkled with a dash of Lovecraft horror. The premise, pacing, dialog, and action are spot-on, and the art team delivers.
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GRIMM SPOTLIGHT: LOVECRAFT'S LEGACY delivers a heart-pounding race to stop a servant of Dagon from capturing Lovecraft's descendant. This issue provides much-needed context for Zenescope's year of Lovecraft, and the art is something else (in a good way).
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GRIMM SPOTLIGHT: HELLCHILD is a bloody good time about a half-god/half-vampire who becomes enslaved to a mystical crime boss whose eager to take out the competition. Shand expertly refreshes newer readers on what makes Angelica Blackstone unique via organic dialog and a clever display of powers/limitations through the brutal action. If youre looking for a unique mix of crime thriller and horror, this is an excellent starting point for the character.
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GRIMM TALES OF TERROR QUARTERLY: RISE OF CTHULHU draws inspiration from a few of Lovecrafts well-known stories in an anthology that lays the foundation for all the Zenescope titles in the near future. The art is consistently good across all shorts, and the stories are well-integrated into the umbrella story, successfully bringing the entire comic together into a cohesive plot. Lovecraft fans, Rejoice!
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GRIMM TALES OF TERROR QUARTERLY: 2021 HALLOWEEN SPECIAL takes readers on a horror-filled ride of Halloween fun. The stories focus on awful people meeting awful endings, and the results are gruesomely satisfying. Each artist in the small army of creators brings a unique visual aesthetic to the anthology, and theyre all successful. This will be a welcome addition to your Halloween comic reading lineup.
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GRIMM UNIVERSE PRESENTS QUARTERLY: SLEEPING BEAUTY is a strong quarterly and one of the best new character introductions weve seen in some time. The pacing, plotting, and premise are all on-point, the dream sequences are colorfully mesmerizing, and the main character gets you on her side almost immediately as somebody to root for.
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GRIMM UNIVERSE PRESENTS: DRACULAS DAUGHTER is an exceptionally thorough character piece to tell you everything youve ever wanted to know about Zenescopes most notorious vampire princess. The action is exciting, Charlottes history is well-developed, and the final moments set Charlotte on possibly a new course for her (undead) life. That said, this might be a rare case where too much story becomes slightly overwhelming.
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GUMAA: THE BEGINNING OF HER #3 is the payoff issue that makes the first two worth it. Lots of drama, wow moments, twists, and surprises. You think shes just going to wreck the Luciel cartel, but theres a twist you wont see coming, leaving you excited for whats next.
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HEAT SEEKER: A GUN HONEY SERIES #1 is a taut sexy, clever thriller that matches everything you like about theGun Honeyseries and more. Dahlia Racers is a force to be reckoned with through Charles Ardais perfect pulp noir writing style, and the art teams delivery complements theGun Honeyseries exquisitely.
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GUN HONEY #1 is the powerhouse creation of a world-class criminal, a femme fatale, and James Bond all rolled into one. The writing is grounded yet clever. And the art uses the characters ample charms effectively as one of many weapons in the characters arsenal.
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HEAT SEEKER: A GUN HONEY SERIES #2 brings the heat in more ways than one with taut action, sexy shenanigans, clever plot twists, and a killer cliffhanger. Charles Ardai can do no wrong in the crime thriller genre, and the art team delivers a dramatic, engaging set of visuals.
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GUN HONEY #3 takes the thrilling adventures of a the worlds most accomplished gun smuggler, adds in a little humor, higher stakes, and a twist cliffhanger reveal thats truly a surprise. The art homages the best of Bronze Age style mixed with detective noir drama for an issue thats as visually appealing as it is enjoyable to read.
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GUN HONEY #4 wraps up the current arc with a mild amount of action but tons of emotional weight, surprising twists, and a 100% satisfying ending. The art looks great in a gritty, pulpy way that fits perfectly for the material. And, the epilogue leaves room for more adventures to come.
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GUNBREED #4 delivers two interconnected shorts that tackle the pain and grief experienced by Sheriff Cains family after a terrible loss. The circumstances surrounding Sheriff Cains loss are tragic, and the outcomes compel you to empathize with Sheriff Cain like never before.
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GUNSLINGER SPAWN #25 is a revenge tale wherein Javi starts killing his way through everyone who had a hand in his sisters death. McFarlanes simple plot is surprisingly effective, and Dexter Soys art is jaw-dropping.
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HEAVENLY DEMON REBORN! (VOL. 1) is another stellar offering from Ablaze in its bid to make Manhwa comics accessible to a Western market. The main characters origin and journey are instantly engaging, the martial arts action is thrilling, and the wins are oh-so-satisfying.
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HELL SONJA #2 successfully pulls off another mission-of-the-month issue while also revealing why Red Sonja is still part of the team, laying the foundation for drama ahead. The art is excellent, the mission is inventive, and the hints do their part to build anticipation for the impending conflict.
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HOLMES & HOUDINI #1 emerges as a promising debut with a captivating premise, well-developed characters, and engaging art. The issue successfully lays the groundwork for a dynamic partnership and an intriguing mystery. While a deeper dive into Spencer Holmes background would benefit first-time readers, the overall experience leaves you eager to see where their adventure leads in issue #2.
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HOLMES & HOUDINI #2 is a blast. Great action, solid pacing, fun characters, and just when you think youve got it figured out they raise the stakes! Savoys discovery of that powerful artifact is a serious game-changer. This series has a ton of promise with these two unlikely partners, and I cant wait to see where the story takes them.
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HOUR OF THE WOLF #2 is another strong entry in the Wolvenheart spinoff when Owen learns the deadly, tragic history behind the painting's creation. Mark London nails the occult horror mystery vibe, and Danilo Beyruth's art is on point.
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NORTHERN BLOOD #3 morphs from a tried and true WWII-era zombie story into a bug-nut-crazy action shooter in the same vein as Return to Castle Wolfenstein. The zombie threats are crazy, the futuristic Nazi experiments set loose are even crazier, and the cliffhanger heading into the finale hits with the force of a small freight train.
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HUNT. KILL. REPEAT. #4 earns top marks for not being afraid to get its hands dirty when Athena corners Artemis and Hephaestus. The art looks fantastic, and the action is brutal. If you want an urban fantasy/action comic that doesn't pull any punches, this is it.
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HYPER AWARE (ONE-SHOT) is a banger of a one-shot that sets the stage for a painful, personal drama set in an impossible space mission. The character work is excellent, the plot sets up the twist ending beautifully, and the art is fantastic.
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IRON MAN #1 is a powerful departure from the esoteric "imagination armor" of the recent run, and puts Tony Stark on a path to rediscovery. The artwork is gorgeous and the writing hits a symphony of emotional notes. This first issue is highly recommended.
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JAMES BOND: 007 (VOL. 3) #1 marks Garth Enniss return to Dynamite with a peak James Bond story. Bond is as charming and deadly as ever in his hunt to recover cutting-edge bomb tech, and Ennis sets the tone for a classic Bond right out of the gate. 007 fans will be well and truly pleased.
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JAMES BOND: AGENT OF SPECTRE #1, 007, available from Dynamite Comics on March 3rd, 2021, takes a classic hero in a classic setup and puts a unique twist on the story. The art is gritty in all the right ways, and the characters all ring true as the best versions of themselves. Within just the first issue, any Bond fan should be thoroughly pleased.
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JAMES BOND: AGENT OF SPECTRE #5 is filled with intense action, edge-of-your-seat twists and turns, and a satisfying conclusion (with a twist) to bring this exemplary Bond adventure to a conclusion.
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JENNIFER BLOOD (VOL. 2) #4 could rightly be called the medical issue as the murder, mayhem, and misdeeds span everything from psycho killer nurses to drug testing gone wrong. The art is exceptional when you consider how engaging the visuals are for a dialog-heavy issue, and the character work on the main villain not only builds out the character to a formidable level but indirectly builds anticipation for the showdown.
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SOMETHING JUICY (ONE-SHOT) is a creepy, gross, unsettling horror tale thatll hit your gag reflex in all the right ways in time for the Halloween season. The story is told from a unique point of view, the horror element is super gross, and the art is well done.
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JONNY QUEST #3 is another super-strong entry in the sci-fi action/adventure series that finds Team Quest in Japan, where they encounter old enemies and new allies. Joe Casey expertly captures the exact right tone to further the Jonny Quest lore, and the art team's delivery is pitch-perfect.
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JUNIOR #1 is a unique take on science fiction with slightly surreal characters, settings, and situations to grab your attention and generate a little humor. The dialog is excellent, and the non-stop action keeps you on your toes.
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JUPITER'S LEGACY: FINALE #1 takes readers on a rollercoaster of thrills and spills when the final invasion of Earth is set to begin. Mark Millar leaps into the final arc with all the energy of a runaway freight train, and Tommy Lee Edwards's semi-realistic art style is a cinematic mix of alien fantasy and grounded believability.
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JUPITER'S LEGACY: FINALE #2 pulls off the miraculous by delivering an issue-long exposition dump that lays out the stakes of Utopian's dilemma that is anything but boring. Mark Millar's exceptional writing will leave you hanging on every word, and Tommy Lee Edwards's artwork is a perfect mix of realism and alien fantasy.
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KAMEN RIDER ZERO-ONE #1 is an excellent jumping-on-point for readers interested in the decades-old franchise. Brandon Easton packs in all the background information and rules the pages can handle, but the information is seamlessly integrated with fun, exciting, wall-to-wall action.
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KILL YOUR DARLINGS #1 is a dark, tragic fairy tale about a girl whose imaginary world is invaded by an ancient evil. Parker and Sheridan lay out a pitch-perfect setup for Roses Tale of Horror, and the art teams visuals are excellent. If you like fairytale stories that get (very) dark, youre in for a treat.
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KILLCHELLA #1 is a fun start to a throwback to 80s slasher films with remote locations, annoying campers who practically invite death, and a mystery surrounding the killer that hints at something much bigger than a standard psycho.
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KILLCHELLA #2 effectively leverages Hitchcoks rule of anticipation by letting the readers know something terrible is about to happen while the protagonists walk headlong into horror and tragedy. Admittedly, this issue is primarily dialog, but its the little hints of madness and pagan imagery that build momentum toward whatever terrible fate is yet to come.
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KILLCHELLA #3 amps up the carnage and the crazy when the cults killer use of cutlery takes a catastrophic toll. The mesmerizing mix of horror and inescapable tragedy will have you on the edge of your seat, and the hint of worse things to come will keep you hooked.
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KILLCHELLA #4 ends the arc in the best way possible with blood and fire. Candelarias story about a concert-turned-ritual-mass-murder checks all the boxes for pacing, dialog, action, gore, and fear. If youre into horror stories in the same category asThe Wicker ManandMidsommar, this arc is an excellent pick.
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KING SPAWN #23 confronts Spawn with his greatest adversary yet in the form of a woman who can unleash ghosts to inflict torment on Spawn's mind and spirit. The conflict is as thought-provoking as it is dramatic, and the art is stupendous.
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KNIGHTS OF THE GOLDEN SUN #10, available from Mad Cave Studios on February 10th, 2021, is filled with rich art and richer storytelling. This reviewer is keenly interested to see where the story goes next.
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KNIGHTS OF THE GOLDEN SUN #11, available from Mad Cave Studios on March 17th, 2021, wraps the concept of personal growth, acceptance, and redemption in a visually epic adventure story. The art is some of the best in comics right now, and the plot continues to build toward something huge.
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KNIGHTS OF THE GOLDEN SUN #12, available from Mad Cave Studios on May 12th, 2021, borrows from the deepest depictions of Hell from the Bible and classical literature for the latest adventure. The art is stellar. The writing is authentic and rife with Easter eggs for anyone fond of myths and legends. This is another great entry in a fascinating series.
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KNIGHTS OF THE GOLDEN SUN #14 ends the current volume in grand style with a battle for the ages. The story builds through the action to give readers a satisfying conclusion, while tossing in a jaw-dropping tease for whats to come. The art is something else, in the best way, with colors that are positively magnetic.
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LEAD CITY #1 is a compelling fantasy tale set in the Old West. The main character is instantly likable/relatable, the premise generates heaps of intrigue and curiosity, and the art is eye-catching and distinctive.
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LEAD CITY #2 is a tight, tense action thriller set in the Old West. The writing builds anxious momentum on every page leading up to the start of the tournament, and when things get going, the action is merciless. This is a recommended pick for this week.
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LEAD CITY #3 is a thrilling issue that does exactly what the previous issue promised it would do engage the reader with a string of tense action scenes set in the Old West. The sparse dialog lands perfectly, and the battle whittles down the headcount appreciably. That said, the biggest praise belongs to the art team for carrying the issue by pumping in a steady stream of anxiety-riddled adrenaline on every page.
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LEGENDERRY RED SONJA (ONE-SHOT) is an entertaining, swashbuckling adventure that mixes steampunk with classic literature for a uniquely good read. Collinss imaginative script hits all the right notes, and Baals art is awesome.
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LIFE ZERO #4 is the zombie horror comic to beat with an unforgiving mix of grounded action, zombie terror, and emotional gut punches. The ending is predictable, but in a way that makes the weight of Dereks grief exponentially heavier.
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LORD OF THE JUNGLE #6 delivers a near-perfect ending to a pitch-perfect Tarzan series. Jurgens captures the spirit of heroism and adventure for one of Pulps most famous heroes, and Gallegos art is stellar. But for one glaring plot hole, this would be a perfect finale.
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LOUP GAROU (ONE-SHOT) is a quick, engaging, bloody monster story thats laser-focused on giving creature feature fans what they crave. McCarthys tight script is matched by the art teamss pitch-perfect visuals for a fun popcorn thriller.
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LOVE ME: A ROMANCE STORY #2 is a super-quick read but a powerhouse of action, heart, and energy. Perillo's script is a masterclass on delivering efficient engagement, and Cardoselli's artwork gives you a protagonist you can believe in.
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LOVECRAFT: UNKNOWN KADATH #3 is another successful entry in the series that brings an assortment of Lovecraft beasts to life while tackling one of Lovecrafts most revered stories Pickmans Model. The quality of the adaptation is nearly flawless, and the dramatic tension will keep you on the edge of your seat.
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LOVECRAFT: UNKNOWN KADATH #4 is a practically perfect adaptation of one of Lovecrafts most esoteric stories. Flrez captures the essence of every scene in Randolph Carters harrowing journey while adapting the story to fit within the comic medium, and Salomons moody, atmospheric art expertly merges the dreamy setting with horrific characters as Lovecraft intended.
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LOVECRAFT: UNKNOWN KADATH #6 realizes the horror within Randolph Carters fantasy as he comes face-to-face with the sentinels of Leng. The subtle shift from adventure to horror is tangible, and Salomons art brings a nearly impossible set of figures to believable life.
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LOVECRAFT: UNKNOWN KADATH #7 is another winning chapter in a remarkably faithful adaptation of one of H.P. Lovecrafts more esoteric works. Carter and Pickmans battle near the gates of Leng feels epic in every sense, and the final moments leading into the next issue promise a rousing battle to come.
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MAN GOAT & THE BUNNYMAN #1, available from Zenescope Entertainment on April 7th, 2021, is weird, funny, violent and thoroughly entertaining. If you like backwoods humor with bizarre characters, give this one a try.
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MAN GOAT & THE BUNNYMAN: GREEN EGGS & BLAM! #2 is a weird, wild, surreal adventure with a genuine sense of heart at its core. The art is pristine, the characters are almost human in their relatability, and the creativity is top-notch.
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MAN GOAT & THE BUNNYMAN SPRING 2023 SPECIAL sends Phil and Floyd on a mission to save Floyd's father from a nefarious cryptid collector. The plot is well-constructed, with a solid mix of action and heart, and Fajarado's art is outstanding.
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MARA #1 is one of the best-looking, efficiently-written, and thoroughly-engaging indie comics weve received in a while. The art looks great and does a stupendous job communicating the story effectively through the visuals. The dialog adds to the story only when it needs, and the ending hooks you with high curiosity to want to know what happens next.
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MECHANIX #2 is a strong second issue in the arc that dispenses with the setup to focus on the main adventure. Keiko proves to be a worthy hero, not because shes super smart, but because she works to overcome her challenges (and a few mistakes). If youre looking for a family-friendly, sci-fi adventure, this title is a good choice.
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Mega #1 is a surprisingly weighty story about an ancient monster who awakes wreak havoc on civilization and the little girl tasked with stopping it. Both the grand spectacle of destruction and the quiet moments of a little girl wrestling with the simple fears of a disaster she doesnt understand are played out with equal perfection. The art, particularly the monster designs, is clean, impactful, and creative.
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MERLIN & HECTOR #2 continues to build out the backstory behind one of legends greatest wizards with a genuine, human story about a young man coming into his own through trials and friendship. The pacing is excellent, the character interactions feel incredibly natural (for an unnatural story), and the creative team has constructed a character you cant help rooting for.
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MERLIN & HECTOR #3 is a surprisingly solid and well-constructed origin story for the worlds most famous wizard with a finale for the current arc that shows the character growing by leaps and bounds. The super-stylized art is not typical comic book fare, but it suits the material perfectly for a story that finishes as strong as it started.
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MIDNIGHT WESTERN THEATRE: WITCH TRIAL #1 picks up where the previous series left off by adding new insight into Ortensia Thomass origins and training. The character development is outstanding, the plot is intriguing, and the art is solid.
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MIDNIGHT WESTERN THEATRE: WITCH TRIAL #3 is the strongest issue in the prequel series to date, with magical action, raw emotion, and a killer cliffhanger. Southards script captures the deep bond between a mother and daughter and the hurt caused when the two are at odds, wrapped in a supernatural adventure.
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MIDNIGHT WESTERN THEATRE #3 takes readers on a different path to explore a young mans quest for destiny with Ortensia and Alex only showing up at the end to teach a valuable lesson. Despite feeling like a filler issue, the writing and art are both strong and maintain the tone of the series.
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MIGHTY MORPHIN POWER RANGERS #110 brings the battle heat with an action-packed issue that moves the players into place and begins a desperate chase to find and stop Mistress Vale. Melissa Floress pacing and plot movement are energetic, and the eye-popping art is great.
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MORIARTY: CLOCKWORK EMPIRE #1 hits the nail on the head as a spiritual successor to Alan Moores League of Extraordinary Gentlemen wrapped in a Sherlock Holmes mystery. The mystery is intriguing, the character cameos are tons of fun, and the art is excellent.
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MORIARTY: CLOCKWORK EMPIRE #2 brings the mystery into focus and unveils an evil plan much greater than even Sherlock holmes expected. The writing is a perfect blend of a classic Holmes mystery set within MooresLeague of Extraordinary Gentlemenuniverse, and the art is fantastic.
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MORIARTY: CLOCKWORK EMPIRE #3 turns the escalating mystery into an all-out monster assault on London. The story elements tease the possibility of a grand conspiracy, and the action set pieces are big screen worthy.
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MORNING STAR #1 delivers a surprising and emotionally resonant experience. While the slow burn might not be for everyone, the blend of family drama with supernatural elements creates a compelling narrative. With its stellar art and intriguing premise, this issue sets the stage for an enthralling series.
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NEMESIS: ROGUES' GALLERY #1 sets the world's most evil killer loose on the world again with a new mission to rebuild his empire and take his revenge on the superheroes who defeated him. Mark Millar's script is unapologetically fierce in portraying Nemesis as a man who should be feared under every circumstance, and Valerio Giangiordano's artwork infuses menace and intimidation into every Nemesis glare.
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NEMESIS: ROGUES GALLERY #2 takes the villain you love to hate and spreads the love when he takes on a junior partner you'll love to hate just as much. A villain-centric comic shouldn't be this entertaining, but it is, so kudos to Mark Millar for producing another winner.
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NEW MUTANTS #12 takes a pretty vanilla X-team story, blends it with a real world issue, and creates a story that reminds you that mutants can be just as human, if not more so, than anyone else. Probably the best X-title I've read in a very long while.
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NIGHT CLUB (VOL. 2) #3 takes some shockingly big swings that will change the Night Club forever. Mark Millar isn't afraid of death and consequences, which makes for unsafe and unpredictable storytelling in the best way. Plus, Juanan Ramrez's art shows off a few new vampire tricks, which look fantastic.
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NIGHT CLUB (VOL. 2) #4 builds up Risso and his gang of bully vampires into a group of villains you'll hate beyond reason, giving you a reason to root for Amy to find a way to take them down. Mark Millar's script perfectly captures all the reasons why people hate bullies so much, and Juanan Ramrez's art gives Risso a chance to show off his vampire abilities well above anything the Night Club thought to try.
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NIGHTWALKERS #1 reminds readers precisely why Cullen Bunn is quickly becoming the de facto horror comics writer. The slow-burn story subtly builds a looming atmosphere of dread to put readers on edge, and when the tension breaks, you realize the wait was worth it.
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NINJA KAIDAN #1 is an intriguing, imaginative, and gorgeous-looking first issue about a hi-tech ninja who can interact with ghosts. Palickis plotting, pacing, and dialog are all spot-on, and the art is beautiful.
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N.O.A. #2 is a banger of an issue with big action, big destruction, relentless pacing, and a cliffhanger that will keep you guessing. If youre looking for wild action/adventure, this comic is a strong recommendation.
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NOTTINGHAM #2, available from Mad Cave Studios on April 7th, 2021, takes another step towards solidifying the Sheriff of Nottingham as one of the great detectives of his time. The art is grim and edgy, and the storytelling rivals some of the best detective dramas out right now.
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NOTTINGHAM #10 is a stellar albeit frustrating end to the arc with a new status quo for all the characters. The frustration is due to a lack of full resolution, but enough events occur to leave you wanting more.
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NOTTINGHAM #11 delivers great action, pacing, and dialogue, offering a gritty twist on the classic legend. The anticipation for the next issue, potentially the finale, is high, as all roads lead to this point. We give Nottingham #11 a solid recommendation to fans looking for something different in the comic book world.
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NOTTINGHAM #12 turns King Richard's return to Nottingham into a Game of Thrones-styled drama, filled with shifting alliances, brutal violence, and intrigue. Hazan's intricate plot will keep you guessing about what happens next, and Shane Connery Volk's grim, moody art is outstanding.
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NOTTINGHAM #14 cranks up the drama, battle action, and intensity in one of the most rousing issues in the series. David Hazan pulls out all the stops to ensure the story is moving at full speed heading into the penultimate issue, and Shane Connery Volk's gritty artwork turns the drama up to eleven.
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NOTTINGHAM #15 brings the series to a close with a fight to the death and an unexpected twist that rewrites history. David Hazan's successful twist on the Robin Hood legend deserves all the accolades it receives, and we're looking forward to more of Shane Connery Volk's art in the future.
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NYX #1 is a fantastic jumping-on point to get to know the half-human/half-demon with a cursed hunger for life energy. Gage paints a surprisingly nuanced and complex version of the character that tells you everything you want to know about her origins and motivations. While the central conflict of the arc is only teased, theres plenty of story to build curiosity and anticipation for whats to come.
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NYX #6 is a thoroughly amusing series with bloody, gory shenanigans, and a serious-but-not-serious game as daughter and father try to outwit each other. The humor lands, the character acting is excellent, and the setup is imaginative. But for a minor quibble with the lettering, this is a fun comic.
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NYX #8 is a thoroughly amusing issue in the series with solid art, supernatural shenanigans, and plenty of satirical bites to put a smile on your face. Gage successfully merges horror and humor for a refreshing read on your Wednesday pull list.
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OVER THE ROPES: BROKEN KAYFABE #1 is a strong start in the latest chapter of Phoenixs career and life. The balance between the drama in and out of the ring is nearly perfect. The art is strong albeit stronger in the interactions outside the ring. And the ending sets up bigger things to come. This is a recommended pick for wrestling fans and melodrama fans alike.
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OZ: KINGDOM OF THE LOST #3 concludes the miniseries on a high note. It offers a satisfying blend of action, emotional beats, and a unique story within the Zenescope universe. We especially appreciate the shift in the status quo for Patchwork Girl and Tin Man, which opens doors for future exploration.
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OZ: RETURN OF THE WICKED WITCH #3 ends the mini-series with a climactic battle brimming with action, drama, emotions, and surprises. Wohls excellent pacing and plotting are matched by surprisingly deep character work. Fajardo and Pereyra turn in a gorgeous set of visuals to pair with Wohls equally strong script.
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PACIFIC RIM: BLACKOUT is an excellent entry in the Pacific Rim mythology with a fast-paced, action-packed adventure. The art is full of energy and cool mech/monster designs, the ticking-clock race makes sense for the world, and the human drama at the heart of the story is emotional.
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PANTHA #1 is a grand retelling of the 1970s characters origin set in modern times. The story borrows interesting elements from The Mummy and American Gods for a world-ending conflict that threatens humanity and the gods alike. The artwork is detailed and highly polished, and the world-building is epic in scope but moves at a brisk pace.
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PANTHA #4 is an excellent entry in the series as the creators lean into the horror with a chapter set in a haunted house run by a god who feeds on fear. The writing is excellent, and the art complements the story beautifully.
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PATHFINDER: WAKE THE DEAD #1 gives you everything you expect and want in a comic adaptation of one of the world's most well-regarded tabletop RPGs. Fred Van Lente puts all the players in place with an authentic and easy-to-follow setup, and Casallos's art is pristine.
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PELLUCIDAR: ACROSS SAVAGE SEAS #2 is the spiritual successor to Indiana Jones with the main hero thats equal parts brains and courage. The crab monsters look intimidating, and Puglia manages to find a way to make them look outlandish and dangerous at the same time. This is another strong entry in the ERB Universe.
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PENTAGRAM OF HORROR! #1 is another impactful first issue for Scouts Black Caravan imprint. The story is so simple yet elegant in its creepiness. The building sense of dread practically chases you from page to page. And the gore hits at the peak of anxiety for maximum effect.
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PLAYTHINGS #1 is perfect nightmare fuel for fans of clown horror. The protagonists are created as real people with real problems and real emotions to draw you in. When things go wrong, the subtle, creepy visuals keep you looking over your shoulder in the best (worst?) way.
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POOH VS. BAMBI #1 delivers a wild and unexpected ride through uncharted territory. Despite minor pacing issues, the story captivates with its bold premise and compelling artwork.
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POP-UP #3 is the satisfying payoff to Jon Clarks setup of a museum with too many evil artifacts to be safe. The grimy art makes the monsters worse for all the right reasons, and Clarks frantic pace keeps readers on the edge of their seats.
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POSSESSIVE #2 finds its footing by giving you a redemption story and a main character you can root for. The art is solid throughout the issue with a subtly effective transformation sequence that makes you like the characters even more. While the first issue was a wait and see recommendation, this issue is a winner for its heart.
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POSTMASTERS #2 is a roundhouse-punching, sword-slashing post-apocalyptic thrill ride of the first order. The plotting, pacing, and witty dialog are all on-point, and the art is action-packed with all the martial arts goodness you could want. Despite a slightly ambiguous ending, the break between issues #1 and #2 was worth the wait.
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PRODIGY: SLAVES OF MARS #1 is a whiz bang re-introduction to Prodigy when his perfect life is turned upside down by a villain who destroys his life with a genius stroke of sabotage. Mark Millar covers the basics with expert efficiency before kicking off a taut thriller, and Stefano Landini's grounded art is excellent.
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PRODIGY: SLAVES OF MARS #2 pairs up Edison with his older brother to evade capture and find out why their father was murdered. Mark Millar delivers a script packed with cool moments, gobs of charm, and admirable efficiency in moving a captivating story forward. Plus, Stefano Landin's grounded, semi-realistic art suits the personalities of the characters perfectly.
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PRODIGY: SLAVES OF MARS #3 keeps escalating the action, the urgency, and the stakes as Mark Millar puts the Crane brothers through a series of challenges no mere mortal could handle. The weirdly surreal sci-fi story is anything but predictable, and Landini's grounded art makes the impossible seem possible.
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PRODIGY: SLAVES OF MARS #4 amps up the adventure when the Crane brothers' investigation takes them around the world and beyond. Mark Millar's script creates an entertaining mix of surreal realism, elevated by Stefano Landini's grounded yet kinetic art. This issue was a lot of fun.
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PROJECT SUPERPOWERS: FRACTURED STATES #2 is a great entry in the series with plenty of action and drama to set up one of the main villains of the story. Despite the silly, campy nature of the Clown, the creators make him work as a dangerous, imposing adversary.
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PROJECT SUPERPOWERS: FRACTURED STATES #4 is a killer (no pun intended) issue in the series that puts the remaining group of heroes at a shocking disadvantage when the true villain of the story is finally revealed. The action comes fast and furious and moves the story forward, Black Terrors back story infuses the issue with layers of motivation and urgency, and the cliffhanger sets up an unpredictable future.
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PROMETHEE 13:13 is a gripping, paranoia-filled thriller about a world quickly devolving into a panic when the date of a prophetic vision about the end of the world approaches. The dialog, pacing, and plotting are all top-notch, and the art has a grounded realism that crosses the line from comic-style to cinema-style.
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PROMETHEUS IN CHAINS #2 kicks the series up several notches on the interest meter by adding solid world-building and fictional history elements to place Victor Frankenstein at the center of a larger historical development. Rich Daviss writing creates a complex personality for the mad scientist, and DiRenzos experimental panel layouts create tons of visual interest.
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PURGATORI (VOL. 2) #1 positions the demon vampire as a damaged demi-god trying to make peace with herself and the world. Fawkes expertly takes a not-necessarily-good main protagonist and sets up a heros journey readers can get behind with stellar efficiency. And the art team has taken significantly improved strides from the last Purgatori mini-series.
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PURGATORI (VOL. 2) #2 takes devilish glee to new levels with a central character who revels in the mayhem and destruction she causes. You cant help but feel the fun Purgatori is having, even when a coven of witches is executing an evil plan for her destruction. Excellent writing is combined with equally excellent art for an enjoyable issue.
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QUICKSAND #1 is a simple, fast-paced, satisfying start to a creature feature that pits humanity against giant monsters from beneath the Earth. The pacing is practically a sprint, the setup is efficient and hits all the right creature feature checkboxes, and the monster designs are top-notch.
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RABID WORLD #2 takes the common zombie ropes and improves on them for a smart and intriguing story with loads of future potential. The art is filled with expression and emotion, and there's plenty here to warrant sticking with the series.
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RAT CITY #1 serves as a promising start for a new version of Spawn in an alternate time and place. The writing is solid, the art is visually appealing, and the concept of a cybernetic Spawn offers a fresh take on the character. It ties to the main Spawn universe while standing on its own, making it an enjoyable read for both longtime fans and newcomers alike.
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RED SONJA #14 cleverly sets up Queen Sonja to face the problems of ruling a kingdom that can't be fixed with a sword.
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RED SONJA (VOL. 6) #3 typifies a pristine example of swashbuckling sword & sorcery adventure. The brisk, exciting pace rarely pauses to catch a breath before bringing the reader along to the next challenge. The writing and art are both excellent.
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RED SONJA 2021 HOLIDAY SPECIAL tells two sober tales about the importance of the meaning of and the spirit of the holidays. Rather than focusing on the celebrations, this issue forces Red Sonja and a wayward village to remember whats most important in life. The art for both stories has exceptionally creative and detailed line work, and the messages from both stories give the reader something meaningful to think about.
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RED SONJA FAIRY TALES (ONE-SHOT) is a surprisingly effective variation (sequel?) to a classic fairy tale seamlessly blended with a Red Sonja-styled adventure. The macabre plot is creative, and Labradas art style, containing hints of manga influence, is impactfully executed.
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RED SONJA VALENTINES SPECIAL 2022 is a fun and timely one-shot that flips the idea of Cupid and his cherubs on its head for a wild monster hunt to save true love. The art, despite the small army of artists, is consistent and looks great. The writing is typically good Sword & Sandal action fare with a holiday twist and a pinch of black humor. This is a great one-shot that perfectly fits the title character and the spirit of the season.
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RED SONJA (VOL. 7) #1 is a practically dead-solid perfect start to a new Red Sonja adventure against corrupt leaders and dark forces grown strong on innocent blood. The tone, style, and vibe feel like a proper Robert E. Howard adventure, and the art is an excellent match.
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RED SONJA / HELL SONJA #1 kicks off a new adventure starring the unlikely duo when Hell Sonja is banished from Hell by a monstrous force. The character work, the premise, the pacing, and the dialog are excellent, and the art team delivers Grade-A work.
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RED SONJA: THE SUPERPOWERS #2, available from Dynamite Comics on February 10th, 2021, is a gorgeous, well-written, and well-paced action tale. Ancient, mystical worlds and futuristic techno powers don't mix, but it's certainly fun to watch the mayhem.
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RED SONJA: THE SUPERPOWERS #4, available from Dynamite Comics on April 14th, 2021, is a near-perfect blend of exceptional art, cool science fiction, exciting action, and perfectly timed jokes.
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REDCOAT #6 ends the first arc (minus the next issue's epilogue) with a bang. We had our doubts about this series, based on the weak start, but Geoff Johns finishes the arc much stronger than he started. Plus, the art team's output is stellar and consistent with the rest of the Ghost Machine titles.
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REDCOAT #7 delivers a surprisingly heartfelt transition issue as Simon and Albert say goodbye for the last time. Geoff Johns's tearjerker of a script instills gobs of character depth for Simon, and the art team's emotional acting is stellar.
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REDSHIFT #3 kicks the series up several notches by switching out the social-political intrigue of life on Mars to a full-blown space mystery. The acting and space action feels authentic, cinematic, and extremely well done. And the intrigue around the Martian conspiracy and the mystery of the fate of prior missions heaps on tons of curiosity to wonder what happens next.
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REDSHIFT #5 is filled with expressive art, emotional storytelling, and a moral dilemma for a cliffhanger that will have you on the edge of your seat. This is great storytelling.
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RISE OF DRACULA #3 doesnt have a clear destination but it feels like its moving and picking up speed, creating a feeling of impending doom. The writer makes big things happen in this issue, adding to the sense of momentum, and the artists use every trick in the book (and more) to add an ethereal quality to the scenes.
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RISE OF THE DJINN #1 is a smart, mature, interesting urban fantasy with excellent art and a surprising level of authenticity for the mythological lore. More publishers should take note of how much better a comic can be when a writer puts in the care and research to get it right.
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RISE OF THE DJINN #2 is a successful sophomore entry in the series that delivers tons of character-building, world-building, drama, and emotion. Despite the tidal wave of information in this single issue, its presented in an organic way with perfect pacing, plenty of creative art, and an equal mix of dialog and action.
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RISE OF THE DJINN #3 is an excellent end to an excellent arc from newcomer (to Zenescope) Grevioux. The action, stakes, and drama on every page are matched only by Greviouxs sincere attention to detail on making sure the legends and religions are infused with authenticity. Likewise, the art team gave it their all in presenting a finale thats as visually satisfying as the writing.
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ROBYN HOOD: SPAWN OF NYARLATHOTEP delivers a standard creature feature one-shot but takes several steps up in maturity and emotional depth when Robyn chooses to grow to meet overwhelming odds. Mariani's art is fantastic, and Brusha's script is loaded with action and drama.
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ROBYN HOOD: BABA YAGA is a hard-hitting action story to complement the new arc in Grimm Fairy Tales. The writing is snappy, the art is gritty and dramatic, and the conclusion skillfully mixes satisfaction with anticipation for the next chapter.
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ROBYN HOOD: HEARTS OF DARKNESS is a solid issue to give Zenescopes more well-known characters a reason to team up against a common foe. The villains motivations are clear and fraught with emotional depth, the action is excellent, and the pacing keeps the energy up all the way through.
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ROBYN HOOD: LAST STOP successfully blends horror and action for a thrilling creature feature of the superhero variety. Brusha creates a setup that successfully mixes Lovecraft lore with Native American legends for a potent and atmospheric story.
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ROBYN HOOD ANNUAL: THE SWARM is a pristine example of building toward an event done the right way. The art is high-quality, characters grow, and the ending promises an even bigger event to come.
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ROGUE PLANET #2 is an effective horror chapter in the spirit of John Carpenter and David Cronenberg. The writing is atmospheric, and the art is mind-bendingly gross. Get your sci-fi horror fix with this issue.
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RUNES #1 is a pure example of the lone warrior on a quest for revenge against those whove betrayed him. The art, like the writing, is gritty and powerful. This is a must-have for fans of Conan and Vikings.
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RUNES #3 raises the stakes on the Northmans predicament with the introduction of vengeful elders and an all-powerful witch. The story is turning out to be a classic Voyage and Return plot with compelling characters, captivating visuals, and layers of complexity that keep you guessing.
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SACRIFICE #1 is a fun comic from start to finish. The subject matter is engaging, the characters and world are well-developed with military efficiency and ease, and the art is excellent. If you like horror with a charming, witty edge, this comic is a recommended pick.
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SAVAGE TALES: WINTER SPECIAL improves upon the previous Savage Tales anthology with fun, eclectic, and sometimes thoughtful adventures starring Dynamites collection of characters. Each short has an intriguing concept, and there isnt a stinker in the bunch.
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SEIS CUERDAS: DEFENDER OF MEXICO #1 is the surprise, fun, superhero action comic of the week. The excellent art and great writing make for a near-perfect offering for anyone with a special love for Bronze Age comics.
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SENGOKU YOUKO (VOL. 1) is a quirky fantasy tale about an unusual brother and sister who travel the land to hunt monsters. Their "sibling relationship is surprisingly complex, and the challenges they face in this volume flip basic concepts of who's good and evil on their head.
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SHADOWMAN #2 is a near-perfect example of episodic comic storytelling done right. The art is captivating and the story hooks you with a clean adventure that leaves just enough crumbs to build anticipation for something bigger.
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SHADOWMAN #3 continues to tell solid, entertaining, episodic stories while dropping enough breadcrumbs to keep the over-arching plot moving. The art is grounded and gory in all the best ways, and the writing is clear and satisfying.
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SHADOWMAN #5 picks up right where the series left off with the same high levels of writing and art to start an event that promises world-ending dangers. While the issue is mostly introductions and setup for whats to come, theres still plenty of ghoulish action and tense drama.
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SHADOWMAN #6 excels at crafting an episodic story with plenty of satisfying spookiness and excitement while linking the stand-alone story to a greater arc with world-changing implications. The art team creates a perfect mix of moody atmosphere, wispy supernatural effects, and grotesque ghouls to fill out the narrative.
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SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #2 does a bang up job of building out the character of Sheena for new readers and furthering the plot through an action-heavy issue. the art is great, emphasized by bold coloring, and the clues dropped during the issue expertly build curiosity for what's happening, keeping readers hanging on for the next issue.
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SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #3 is an exciting, action-packed adventure in the spirit of classic pulp adventures with monstrous beasts, a conspiracy by a shady organization, and battles for survival in the jungle. The art is excellent, the writing is entertaining, and this is an all-around good time read.
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SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #9 is a banger of a classic pulp adventure with Nazi villains, tribal civil war, dinosaurs, and a high-stakes cliffhanger. The only oddity is a weird choice to make every male in this story either incompetent or evil, but you cant have everything.
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SHERLOCK: A SCANDAL IN BELGRAVIA PART 2 #2 hits all the right notes from the show it adapts with speedy pacing, snappy dialog, and sexual tension between the historic couple-to-be (almost). If you have any concerns about the Manga-esque style, put them aside and enjoy.
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SHI NO KAGE #5 pauses Hachidos journey while he recovers to reveal the truth behind Kioshis death and the Samurais involvement in Kazus invasion. The story feels big without introducing too many threads or characters, and the flashback battle depicting Kioshis end is filled with stirring honor, righteous anger, and heavy heartbreak. That kind of emotional complexity is exactly what you want out of a Samurai revenge story.
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SHI NO KAGE #6 continues the excellent series with plenty of bloody Samurai action, another step in a true heros journey, more than one surprise twist you wont see coming, and tons of buildup for the next issue. Fans of action samurai stories will be pleased with this issue.
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SHOWS END: THE SECOND COMING #3 hits big. Not with action or spectacle, but with emotion, drama, and character development. Several key characters are maneuvered into life-changing decisions, so this is the type of storytelling that grips you without throwing a punch or firing a shot.
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SILENCE #1 expertly finds a way to find the human drama in the life of a failing artist who cant catch a break from lifes problems. As circumstances force him to take a break, the unreliability of an artists imagination turns this relatable drama into a fascinating nightmare. However, be warned. Its a slow burn, but the phenomenal art and moody writing are worth the read.
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SILENCE #2 is an enjoyable little gem for horror fans of stories that keep you guessing. The tight drips of dialog are designed to keep you on edge, and the designs show you gruesome death and destruction while suggesting it may not be real. Either way, this is a strongly recommended pick for horror fans.
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SKEETERS #1 is as close to a classic B-Movie creature feature as you can get in comic form. Frantz and Cuffes setup is clear, to the point, and super simple, and Williamss artistic take on the mutant monster mosquitoes and the gore they create is perfect.
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SKEETERS #3 is a triumph for fans of over-the-top, B-movie horror. It pays homage to classics like Creep Show and Dead Alive, delivering a thrilling experience that prioritizes entertainment over sheer fright. The series knows its identity and embraces it fully, resulting in a fun and shocking read that defies expectations.
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SKEETERS #4 delivers a satisfying conclusion to the miniseries, serving up a healthy dose of campy fun and adrenaline-pumping action. While it may not take itself too seriously, it takes its role as an entertainer seriously, ensuring readers are thoroughly entertained from start to finish.
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SONJAVERSAL #3, available from Dynamite Comics on April 7th, 2021, is the steam train that keeps picking up speed. High-paced storytelling with kinetic action and “oh, cool!” creative moments make for an entertaining chapter in this arc.
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SONJAVERSAL #5 is a perfect example of doing a big event the right way. The main character's life is changed without changing the core of the character, leading to an infinite array of storytelling possibilities.
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SONJAVERSAL #6 is a smart, creative way to take an existing character and open up a whole new realm of stories that wouldnt be possible without the multiverse concept. The writing and art are both strong, and the tease of something bigger happening is exciting.
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SPACE GHOST #4 is one of the best issues yet. Writer David Pepose crafts a story that makes longtime Space Ghost villain Zorak into a credible and intimidating threat, while Jonathan Lau's battle art looks fantastic. If Dynamite can maintain this level of action and excitement, Space ghost will be around for a long time.
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SPACE GHOST #6 eases back on the big action and spectacle in favor of a surprisingly mature character piece that builds the bond between Space Ghost and Jace. David Pepos'e setup and character-building is on point, and Jonathan Lau's artwork is stunning.
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SPACE GHOST #7 is an action-packed issue that forces Blip to take the lead in thwarting the villain's plans. David Pepose's simple plot makes the most of Blip's heartfelt adventure, and Jonathan Lau's artwork is spectacular.
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SPAWN #343 is an action-light, dialog-heavy issue, but you dont notice because the art is stellar, and the reveals have big story implications for the future. If the creative team can pay off the spark of drama lit in this issue, this arc will be a winner.
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SPAWN #344 ramps up the action and the momentum to get the four armies into position for the fate of Hell and humanity. McCanvilles script is more setup than the story, but every move ratchets up the anticipation and energy to keep you hooked.
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SPAWN #345 brings Greenworld into the raging war for Hell, creating ripple effects that make the conflict feel bigger. The storys scope and scale keep growing to form a truly epic war story, and the art is excellent.
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SPAWN #347 turns the tide, amps up the stakes, and delivers a game-changing twist for one of the strongest issues in the Heaven/Hell war so far. McConville and McFarlane are delivering a banger of an arc, and the art is fantastic.
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SPAWN #348 amps up the urgency and the threat level when Sinn makes a final push for the Throne while the opposing forces are still scattered. McConville and McFarlane have an epic war drama on their hands, even if the synergy between Spawnverse titles is practically non-existent. And Barberis Spawn art is as good as it gets.
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SPAWN #350 delivers a satisfying and monumental conclusion. For those seeking a climactic finale with all the bells and whistles, this issue doesnt disappoint. The narrative is bold, actions are impactful, and the repercussions set the stage for a captivating future. The tie-ins from King Spawn to the Scorched and Gunslinger Spawn find resolution, paving the way for new directions in each respective title. In the grand scheme of the Spawnverse, this event is a game-changer.
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SPAWN #351 elevates Spawn as a formidable character without his powers. The quest to find a cure for vampirism adds an interesting element to the story, and the world-building after the heaven-hell war is compelling. However, the lack of setup and context due to the unreleased issues of King Spawn is a drawback.
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SPAWN #352 delivers a satisfying blend of action, mystery, and intrigue, propelling the story forward while leaving room for further exploration of its captivating universe. With strong artwork and engaging storytelling, this issue is a must-read for fans of the Spawn series.
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SPAWN #356 is a pitch-perfect origin story for Lyra. Rory McConville delivers a familiar origin story structure, but there's enough new material to make the story unique and engaging. Plus, Brett Booth's art is spectacular.
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STAR WARS: BOUNTY HUNTERS #5 gives you a ton of story and a ton of action. The story is satisfying, and the art is full on eye candy. Highly recommended.
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STARFINDER: ANGELS OF THE DRIFT#1 nails the TTRPG experience of the classic game with an eclectic array of alien races, an intriguing mystery, and plenty of sci-fi adventure and action. Sutter's script works for fans and non-fans of the tabletop game, and Menna's art is excellent.
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STEAMPUNK SNOW WHITE #1 is one of the better re-imaginings of the Snow White legend. The art looks great despite the flat digital finish. The major plot points are still present, and the creator successfully works in a subtle steampunk aesthetic with plot points from other legends for a finished work thats wholly original.
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STREET FIGHTER MASTERS: AKUMA VS. RYU #1 delivers an entertaining and compelling story, showcasing character growth and dynamic artwork. Despite some ambiguity in the conclusion, the issue earns our recommendation for its engaging narrative and visual appeal.
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SWAMP DOGS #1 is a perfect homage to classic zombies-attacking-a-party stories ala The Return of the Living Dead and Night of the Creeps. The chemistry between the main characters is so electric you could power a small city, the setup is familiar yet completely devoid of predictability, and the art is a cut above most indie grindhouse horror comics.
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TALES FROM NOTTINGHAM #3 is another winning one-shot in the spin-off series highlighting characters from David Hazan's hit title, Nottingham. Smartly focusing on Maid Marian's earlier years enhances the main title by telling interesting tales to inform how Marian arrived at her later predicament, and the art is outstanding.
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TALES FROM NOTTINGHAM #4 is another excellent one-shot in a series that explores the history and motivations of Nottingham's eclectic cast of characters. Essex's plot puts Friar Tuck in an impossible situation, which leads to a moral dilemma ripe for excellent drama, and Puerta's art is very good.
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TALES OF VULCANIA #1 is an impressive first issue that strikes a precise balance of character work, world-building, and action, topped with solid albeit muted art. It's unclear where exactly the story is headed, but I'm on board for now.
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TERROR MAN (VOL. 1) takes the classic trope of a teenager with powers who reluctantly becomes a hero and flips it on its head, wherein the hero is considered a villain. The premise is different enough from standard fare to be interesting, the lead gets into incredibly hot water very quickly, and a greater conspiracy stacks layers of intrigue on top of an already interesting story.
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THE AGENT #1 is an intriguing urban fantasy about a drug enforcement agent who stumbles upon the magical side of the criminal underworld. Gabellas crime noir tale is a proper thriller set on the streets of Paris, but the magical developments are subtle enough to build mounds of curiosity. Likewise, Dagninos hard-hitting action is fascinating when it includes a unique magical twist.
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THE ATONEMENT BELL #2 fills in the backstory of the curse thats named Jake as its next sacrifice. The violence is brutal, the fear is palpable, and the stakes in Jakes fight for survival rise exponentially for an increasingly impressive supernatural thriller.
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THE ATONEMENT BELL #3 tightens the net around Jake and his friends as the effects of the curse become more severe. Despite the dialog-heavy issue, the story is no less tension-filled and brimming with foreboding as the dialog moves the story forward in surprising ways.
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THE ATONEMENT BELL #4 ends the exceptional horror story the only way it should with blood and fire. Ousley's pacing is relentless, the characters feel authentically grounded in their speech, actions, and acting, and the ending is immensely satisfying.
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THE BOOGYMAN #1 is a banger of a first issue that cracks open the door to a savage, supernatural world existing just underneath our own. The dialog, pacing, and plotting are all excellent, and Djets art maximizes size and contrast to hype up the dramatic impact as much as possible.
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THE DEVIL THAT WEARS MY FACE #3 amps up the tension, the action, and the stakes when Father Vieri constructs a trap for Legion. Pepose constructs a ticking clock that puts you on the edge of your seat, and Cormacks art is first-rate.
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THE DEVIL THAT WEARS MY FACE #5 delivers on multiple fronts intricate plot development, engaging visuals, and a well-crafted narrative. The momentum towards the series finale is palpable, leaving readers eager for the resolution. Despite a minor setback with the Santiago revelation, the issue stands as a solid installment in the series. With Legion now the new Pope, the stage is set for a thrilling conclusion.
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THE ENFIELD GANG MASSACRE #2 amps up the violence, death, and tension for a brisk but satisfying fight for survival in the middle of the night. Condon keeps readers on the edge of their seats non-stop, and Phillipss brutal art is phenomenal.
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THE ENFIELD GANG MASSACRE #3 maintains a simmering pace on the plot but compensates with gripping, high-tension scenes that make readers hold their breath. The anticipation is thick enough to cut with a knife, and Phillipss cinematic art is packed with dramatic energy.
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THE ENFIELD GANG MASSACRE #4 brings the heat, raises the death toll, and delivers surprises in another thrilling issue. Readers follow along in real-time as the massacre draws closer to an inevitable conclusion, and Phillipss pulpy art is top-notch.
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THE HEROES UNION #1 plays on feelings of nostalgia for every glorious era of comics over the last century and embeds those feelings into a good old-fashioned superhero space adventure. The pacing is brisk, the story is simple without being too cliche or corny, and the art is classical in the best sense of the word.
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THE INVINCIBLE RED SONJA #9 is possibly the strongest issue so far and an excellent way to build up to next months finale. The character interactions reflect a surprising amount of emotional weight, Red Sonja gets a new costume, and the last page sets up the potential for an explosive ending.
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THE LAND THAT TIME FORGOT: FEARLESS #2 has smart, strategic writing and excellent pulp-style art to keep this series on a high note. And the out-of-nowhere cliffhanger builds high curiosity for what comes next.
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THE LAST DAYS OF US: FORSAKEN #2 is a strong follow-up to the first issue with a murder mystery that leaves enough bread crumbs for readers to play along, a killer that poses an imposing threat, excellent dialog, and superb character work.
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THE LIVING CORPSE: RELICS #2 puts the main character on a globe-hopping mission to stop another living corpse from collecting ancient artifacts for some evil purpose. While the story is a collection of small moments, the scope of the plot feels global. The art stands out for making each character unique and memorable.
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THE LIVING CORPSE: RELICS #3 is a knockdown, drag-out Living Corpse fight that tells as just much story as it delivers on the action. The art is as grindhouse gory as it needs to be. And the cliffhanger conclusion puts both Romero and Lilith in a whole heap of nail-biting trouble, begging you to come back for the next issue.
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THE LIVING CORPSE: RELICS #5 is a fun, exciting, issue that ends on the biggest cliffhanger of all. The fast-paced writing gives you plenty of meat on every page, the art is peak Romero, and the third act twist forces you to question everyones motivations during whatever happens next.
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THE LIVING CORPSE: RELICS #6 is a climatic end to a world-changing series. The characters are organically written with heart, the plot is epic, the art is weird and wild, and the ending satisfies with a proper change in the status quo.
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THE MADNESS #3 continues the sizzling, seething revenge quest of a superpowered thief determined to kill everyone who wronged her. The raw emotion practically leaps off the page, and the art teams facial acting is mesmerizing.
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THE MADNESS #4 shifts the overwhelming atmosphere of uncontrollable rage to seething, directed anger when Raven encounters an innocent hero who makes an impassioned plea. Straczynksis writing is top-notch, and the art is powerful.
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THE MADNESS #5 is a near-perfect blend of gritty, hard-hitting action and heartfelt drama when Sarah/Ravens revenge quest leads them to their next target. Straczynksis blend of character work and action is masterful, and the art teams visuals pack a wallop.
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THE MADNESS #6 ends the mini-series as strongly as it started, with strong emotional beats, big bangs, and a fitting conclusion. Straczynskis tale of a superpowered thief on a revenge quest is a treat from start to finish, and ACOs art packs a punch. If it isnt already, this series should be on your Best of 2023 list.
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THE MAGIC ORDER (VOL. 5) #3 unveils the hidden agenda behind the assassination attempts, skyrocketing the scale and stakes of the arc. Mark Millar's script presents an easy charm that blends realism and surrealism for a fascinating tale, and Matteo Buffagni's art fits the script perfectly.
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THE MIGHTY BARBARIANS #2 takes the novel concept of a barbarian super team and puts them to work, with stellar results. Moreci's script is the right mix of action and gravitas with a touch of well-timed humor, and D'Urso's art style is a perfect match for a barbarian adventure.
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THE MIGHTY BARBARIANS #3 is a sharp, brutal, witty entry in the series. When the barbarians continue their scavenger hunt to find the orbs of power, their path crosses with Morgan's sister, Claudia. The action is fierce and fun, the banter is witty, and the art is perfect.
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THE MIGHTY BARBARIANS #5 kicks the penultimate issue into overdrive when the barbarians face Claudia and her goblin army. Moreci paints a suitably bleak picture but then turns the story on its head with a fist-pumping cameo (not Conan). The art style and coloring are solid throughout, but the bigger wow moments could have used a splash page or two to hit harder.
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THE MONSTER MEN: SOUL OF THE BEAST perfectly captures the spirit and tone of Burroughs' original work, laying the groundwork for the next series with an excellent cliffhanger.
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THE MONSTER MEN: HEART OF WRATH #2 is a strong example of how you do a middle issue the right way in a 3-part mini. A lot of questions are answered, stakes are raised, and the players are positioned for the big showdown.
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THE MOON MAID: THE THREE KEYS #1 expertly captures the look, feel, and voice of classic pulp stories from Edgar Rice Burroughs. That art is high-quality, and the storytelling admirably pays respect to and builds upon the source material in a remarkably compact comic.
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THE NINJETTES #2 is a solid entry in the series that rings the surviving candidates into focus and starts moving everyone in the same direction, namely kill them before they kill you. The pacing, wit, and violence all land beautifully, and the arrival of the trademark Ninjette masks is a welcome addition to the series.
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THE NINJETTES #4 is the best entry in the series to date. The violence is wild. Now that the player count is smaller, the weirdly quirky and damaged personalities are starting to shine through. And the series is starting to pick up momentum.
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THE OBLIVION TRIALS #4 is a prime example of how to end an arc on a high note. Kikos character growth exemplifies everything readers want in a heros journey, and the art is the best its looked over the entire arc.
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THE PLOT #7, available from Vault Comics on November 25th, 2020, pits family against monster in a desperate fight for survival with Mother Nature knocking at the door. The art is atmospherically moody, and the pace will have you biting your nails with every page turn.
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THE PLOT #8, available from Vault Comics on March 3rd, 2021, wraps up this country monster story with drama, thrills, and lots of heart. The art creates a suitably gothic atmosphere, and the conclusion is epically cinematic.
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THE RESTORER'S HOME (VOL. 1) is a sweet, charming, supernatural tale about an overwhelmed teenager forced to use his mystical gifts to help the living and the dead find restoration. The eclectic cast of characters is enjoyable, Sungwoo's character growth is surprisingly nuanced, and the art is highly entertaining.
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THE ROCKETFELLERS #2 is a hoot of an issue when the Rocketfellers make preparations for their first Christmas in the 21st Century with disastrous results. Peter J. Tomasi's script infuses more heartwarming moments than a cup of Christmas cheer, and Francis Manapul's art looks amazing.
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THE SACRIFICERS #4 is a gut punch of an issue that grapples with the aftermath of the sacrifice and sets the stage for trouble among the gods. Remenders transition issue packs a wallop, and Fiumaras art is glorious.
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THE SACRIFICERS #10 pauses Pigeon's rage-filled journey for revenge and catches up with Soluna, experiencing mortal discomforts for the first time. Remender creates an entire issue to heap pain, misery, and guilt on the daughter of a god to great effect, and Arajo's guest artwork is excellent.
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THE SACRIFICERS #13 kicks ass and takes names when Pigeon is captured by Kroniuous but refuses to stay captured for long. Rick Remender's script has strong ideas and even stronger action, and Andr Lima Arajo's art comes very close to matching Max Fiumara's exquisite standard.
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THE SAVAGE SWORD OF CONAN #3 demonstrates how successful a publisher can be with a licensed property when it puts care into selecting creators who love the property, respect the source material, and take the craft of storytelling seriously. All the shorts in this anthology are must-haves for Robert E. Howard fans.
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THE SAVAGE SWORD OF CONAN #6 ends the first volume with a hard-fought pulp adventure against witches, otherworldly monsters, and more. Jason Aaron's extended King Conan story is a worthy addition to the Cimmerian's mythology, and the short stories from Matthew John and Michael Downs are excellent.
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THE WEST MOON CHRONICLE #2 is another winner in the surreal series that mixes Eastern mysticism and urban fantasy in a Texas setting. The character- and world-building are brilliant, and the art seamlessly blends the real with the unreal.
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TITAN: MOUSE OF MIGHT #2 delivers the goods with fierce superhero action, strong emotional beats, and plenty of plot movement. This issue looks great, reads great, and significantly improves on the first issue.
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TITAN: MOUSE OF MIGHT #3 combines gritty action with answers surrounding Titan's first months on Earth to craft a chapter brimming with surprisingly mature themes and gripping action. This issue goes a long way toward unveiling the details surrounding Titan's trauma, making him a richer, more relatable character.
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TRANSFORMERS #2 mixes equal parts well-done exposition, action, and emotion when the Autobots take stock of their new home while the Decepticons go on a deadly rampage. Johnsons reimagined Transformers feels familiar but more mature, and the art is fantastic.
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TRANSFORMERS #4 delivers fast-paced action and cool wow moments to make every page turn worth the cover price. Daniel Warren Johnsons realistic approach to Transformers on Earth reads like a gripping war story, and Johnsons eye for dramatic panels hits with impact every time.
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TRANSFORMERS #5 is a thrilling, action-packed installment with strong emotional beats and nods to the original Transformers. Daniel Warren Johnsons departure after issue six is bittersweet, considering his excellent contributions. The series, with its mature edge and consideration for the source material, earns our recommendation.
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TRANSFORMERS #7 continues to deliver exciting action, compelling storytelling, and engaging character development. Despite the change in artists, the issue remains consistent in quality, offering a thrilling continuation of the story.
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TRANSFORMERS #9 is a drool-fest for Transformers action fans with a breakneck script, a tsunami of action and plot developments, and a visual feast from new artist Jorge Corona. Daniel Warren Johnson seems committed to giving readers a wow moment on every page, and his effort is paying off.
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TRANSFORMERS #15 comes at you with all the wartime drama, tragedy, emotion, and wow moments you can handle. Daniel Warren Johnson's status-quo-setting issue gives readers a good handle on everyone's whereabouts after the cataclysmic Transformers #12, and Jorge Corona is back on art duties for a spectacular-looking issue. That said, the issue gives readers an almost overwhelming amount of story.
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TWIZTID HAUNTED HIGH-ONS: THE CURSE OF THE GREEN BOOK #1 is a surprisingly entertaining first issue about a trio of ghost hunters contacted for help to recover a book containing powerfully dark magic. The main characters are instantly likable, the adventure setup is rock solid, and Im on board for what happens next. This is an excellent jumping on point for anyone who likes the idea of a Scooby Doo mystery with a Ghost Adventures level of maturity.
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UNBREAKABLE RED SONJA #5 ends the series much stronger than it started with time loops, surprise twists, and a climactic battle against a pretend god. For all the alternate timelines and realities, this issue is a surprisingly clear read, and the art is on-point.
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UNDER THE INFLUENCE #1 is an unexpectedly clever mystery about an Internet Influencer who may or may not be turning into a cult leader. The examples of groupthink and collective behavior feel uncomfortably real, and the mystery leads to intriguingly dark places.
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UNIVERSAL MONSTERS: DRACULA #1 is a masterful and faithful adaptation of the 1931 classic film. Tynions script adapts the source beautifully to match the comic format, but Simmondss atmospheric, ethereal art steals the show.
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UNIVERSAL MONSTERS: DRACULA #2 is a gorgeously-rendered, faithfully yet creatively adapted take on the classic Universal film. Tynions respect for the source material is palpable, but his version feels fresh enough to stand on its own. And Simmonds gorgeous art is a collectors dream.
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UNIVERSAL MONSTERS: DRACULA #3expands the Counts dreadful influence over London as the body count climbs and hope fades. Tynion IV crafts a respectful homage to the classic film while possibly improving upon its plot, and Simmondss artwork is gloriously creepy.
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VAMPIRELLA 2021 HOLIDAY SPECIAL is the horror-themed Christmas adventure you didnt know you needed. Remarkably, the two backups are just as good as the main story, and we have a collection of creators pulling double-duty in both writing and art to demonstrate how good storytelling is good storytelling, whether youre an artist or a writer. If youre lamenting its too early for Christmas comics, get this one anyway. Yule be glad you did. (Im sorry. That was terrible).
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VAMPIRELLA: VALENTINE'S DAY SPECIAL 2021, available from Dynamite Comics on February 3rd, 2021, has only one thing in common with the romantic holiday " the color red. Lots and lots of red. The dark, dystopian art fills the entire issue with hopeless despair, and the story keeps up a brisk pace to give us a pitch-perfect Dracula story.
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VAMPIRELLA/DRACULA: UNHOLY #4 is some of the creative teams best work. The story, while not perfect, has plenty of surprises and shocking (in a good way) developments. The art is excellent, and this is an entertaining read overall.
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VAMPIRELLA STRIKES #1 starts the arc as strongly as the lat arc finished with a creative left turn that turns the war with Hell into a crime noir story. The dialog is on-point, the pacing is steady but snappy, and the art is perfect for a detective story.
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VAMPIRELLA STRIKES #2 is a surprisingly weighty issue in this series with anger, pain, and grief expressed by all the characters. But for the mystery villain, there are no true bad guys in this issue, only hurt people desperate to be free of their pain, and the last page cliffhanger puts Vampirella in the middle of it all.
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VAMPIRELLA STRIKES #3 is a very strong issue in the post-apocalyptic-demon-war-turned-police-procedural series. The writing is well-paced,-well-plotted, and filled with great dialog that captures the moody noir of the detective story. The art team is working in perfect sync with dramatic visuals.
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VAMPIRELLA STRIKES #6 is a nearly perfect setup issue to kick off the latest arc. Vampirella investigates a plot with potentially world-ending consequences, so the stakes are immediately shy high, and Laus art pushes maximum drama on every page.
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VAMPIRELLA STRIKES #7 earns high marks for expertly teasing the readers until a last-page reveal of the new Big Bad poised to make Vampirellas life Hell. The air of anticipation is executed brilliantly, and Laus art is gorgeous.
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VAMPIRELLA VS. RED SONJA #1 takes two great tastes and makes them taste great together by interweaving the Vampirella and Red Sonja interactions with The Project into a fresh story that builds on what worked in those titles. Abnett makes the impossible possible by distilling the crisis into a single, easy-to-follow issue, and an explanation of magic proves to be a game-changer for The Project. That said, the generally good art fails to capture the drama of the event.
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VAMPIRELLA VS. RED SONJA #3 escalates the threat to the Plural Worlds in a big way with unstoppable monsters, human drama, and a conspiracy that will shake The Project to its core. This is the crisis-level series to beat.
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VAMPIRELLA VS. RED SONJA #5 brings the headbutting heroine adventure to a climactic finish as Vampirella and Red Sonja will either kill the Netherborn or kill each other. The action is dramatically tense, the character development is outstanding, and the ending sets up a new status quo for just about everyone.
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VAMPIRELLA VS. THE SUPERPOWERS #6 brings the eclectic crime noir (with superheroes) to a close with a twist reveal, superpowered fights, and an intriguing ending. Dan Abnett is one of those rare writers who finishes a mini-series as strongly as it started, and Qualanos art projects movement and energy on every page.
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VAMPIRELLA: DARK REFLECTIONS #4 is a rock-solid example of a penultimate issue done right. Sniegoski and Acheson establish world-ending stakes, build momentum, and craft a script that gives Maine plenty of energetic action to visualize. Plus, the issue ends on a strong cliffhanger.
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VAMPIRELLA: DEAD FLOWERS #4 brings the Gothic monster mash of a mini-series to a close with a climactic monster battle in a graveyard. Frazetta and Freeman end the story with a rousing fight and a pleasing meta-development in the epilogue, while Locatellis fantasy art is a perfect match for the script.
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VAMPIVERSE #3 injects a little levity into the multiverse concept to visit an Earth that only exists between commercial breaks. The stakes for the overall arc are raised exponentially, and we learn there are some things that frighten even the Chaos Lords. With excellent art and imaginative storytelling, this is turning out to be one of the most entertaining series of the year.
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VAMPIVERSE #4 takes the sheer insanity of a multiverse to a whole new level. Its this kind of creativity and imagination thats sorely missing from comics, and it greatly enhances a story with some admittedly repetitive elements. The art team equally embraced the fun by giving readers big action sequences and non-stop chaos, in a good way.
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VAMPIVERSE PRESENTS: THE VAMP (ONE-SHOT) is a well-constructed, perfectly sized one-shot spinning off one of the better-remembered characters from the Vampiverse adventure. The writing and art perfectly capture the spirit of classic pulp serial adventures, and the Vamps origins creatively echo Vampirellas story with plenty of twists to create something that stands on its own.
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VAN HELSING: RETURN OF THE LEAGUE OF MONSTERS #1 is everything you could want in a monster team-up creature feature that puts our hero in the toughest of tough spots. The storytelling hits the sweet spot for action-adventure, and the art is top-notch Zenescope quality.
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VAN HELSING: FLESH OF MY BLOOD is an entertaining creature feature starring Zenescopes resident monster hunter. Liesel undergoes an appreciable amount of emotional growth, the monster is formidable, and the ending drops enough breadcrumbs to hint at bigger things down the road.
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VAN HELSING ANNUAL: BRIDE OF THE NIGHT emerges as a winner. The storytelling prowess of Pat Shand, combined with the visual finesse of the artistic team, delivers an engaging, energetic annual. The narratives pacing, character development, and meaningful resolutions contribute to a satisfying reading experience. With one door closed in Liesel Van Helsings life, were eager to see what the next one opens.
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VENGEANCE OF VAMPIRELLA #8 packs in a whole lot of monster fights, explosions, and a little bit of wit to build excitement for the demon war. The writing is solid and that art team is getting better with every issue.
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VENGEANCE OF VAMPIRELLA #18, available from Dynamite Comics on May 20th, 2021, the gloves are off as the last two are left standing for the big battle to come. They're suited up, powered up, and incredibly motivated to kick each other's ass. It's a keeper.
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VENGEANCE OF VAMPIRELLA #21 is a masterclass in subtle dialog and art hints that slowly build tension and paranoia in mundane scenes. Although, you can tell something is wrong with this All-American town from a mile away, the journey is no less terrifying, making the cliffhanger conclusion that much more effective.
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VENGEANCE OF VAMPIRELLA #23 is full of surprises. By taking a story that is already finished and finding a brilliant way to introduce a new threat, the series feels like it has a fresh reason to continue and not simply hang on because it doesnt know when to quit. The art is getting better with each issue, and the creative choice to jump ahead a few years opens up a ton of story possibilities.
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VOID RIVALS #2 continues the authentic human story about two survivors from separate races coming together to survive. The plot progression is light, but Kirkman more than makes up for it with amazing character development, an interesting backstory, and an intriguing cliffhanger.
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VOID RIVALS #7 is another strong entry in the series. It delivers an exciting story with high stakes, memorable character moments, and beautiful artwork (with a few minor areas for improvement). While the pacing could have been slightly better in certain spots, its a minor issue in an otherwise outstanding comic.
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VOID RIVALS #14 decisively turns the multiple threads and groups of characters who've popped up over the course of the previous thirteen issues toward an inevitable collision with the Sacred Ring. Robert Kirkman gives (almost) every character a moment to shine in an increasingly complex story, and the art team's delivery keeps getting better.
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WALK: TOTAL DESTRUCTION (ONE-SHOT) is a raw, unforgiving, bloody story about an unstoppable man who sets himself against all comers and a broken system. The pacing is excellent, the hyper-stylized art is impactful, and the outcome is shocking, but readers familiar with Stephen Kings The Running Man may find more than a few similarities in the plot.
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WE DONT KILL SPIDERS #1 is an excellent blend of detective noir with a Viking twist. The story avoids common tropes to address a skeptics disbelief in magic, and the art is a masterclass on mood through coloring.
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WE DONT KILL SPIDERS #2 is wall-to-wall monster mayhem for the discerning horror comic fan. The art is exquisitely creepy, the story and characters are developed through the action, and the revelations pack this comic full of surprises you wont see coming. This is another worthwhile title in Scouts Black Caravan imprint.
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WE DONT KILL SPIDERS #4 is as good a horror comic as you could hope for from a small publisher. The character work is excellent. The horror elements are positively black with evil, and the art captures a grim sense of dread to complement the writing.
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DOCTOR WILDER #2 is an engaging, surprising, and visually entertaining comic. The main character makes surprising moves that elevate your respect for how far shes willing to go to get the job done and be a badass while doing it, and the art team is firing on all cylinders with a super-clean and visually captivating book.
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DOCTOR WILDER #5 ends the arc with multiple big bangs for a thrilling end to the poaching organization and its ringleaders. The writing execution is top-notch, and the art is some of the best on the market.
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YOUVE BEEN CANCELLED #4 ends the highly entertaining, satirical, cyberpunk/social media mashup in a blaze of glory. Pires constructs the perfect anti-hero in Roland, who gives everything hes got to set things right, and Castanieros stylistic art hits you where it counts.
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ZOMBICIDE: DAY ONE #1 is a simple, straightforward, zombie story, but it earns top marks for fun characters, plenty of zombie-killing energy, and some of the best art Source Point has to offer.
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ZORRO FLIGHTS #1 is pure serial pulp fun from start to finish. Its a wholesome start to a classic adventure with a little whimsy to give the story an element of magical charm. The art is great, and the plot point of fighting a windstorm is a perfect excuse to infuse every panel with constant motion and energy to make the issue more engaging.
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ZORRO: NEW WORLD #2 is a welcome visit to a bygone era of classic serial adventures. The story is simple yet effective, and the art is masterfully drawn. If youre a Zorro fan (or want to see a classic example of a Detective comic with a masked hero wearing a black cape), add this to your colleciton.
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ZORRO: MAN OF THE DEAD #3 delivers a compelling blend of action, intrigue, and character-driven storytelling. While some elements may require a willing suspension of disbelief, the overall experience is thoroughly enjoyable for fans of the genre, with stellar artwork and a gripping narrative.
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ZORRO: MAN OF THE DEAD #4 ends the finale with a rollercoaster of tension, action, and drama. Sean Gordon Murphy's surprisingly layered story mixes action with human drama, and the art is superb.
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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.
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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.
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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.
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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.
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CENTAURS (VOL. 1) offers an emotionally rich story with an interesting concept and excellent world-building. The pacing keeps the narrative engaging, although clarity issues arise in some action sequences. Overall, its a solid read that leaves readers eager for more.
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CONAN: BATTLE OF THE BLACK STONE #3 leads the team of Robert E. Howard's heroes into the jungle for a harrowing hunt and a deadly outcome. Despite a slow pace in the beginning, Jim Zub's tale gradually builds speed for a killer ending, and Jonas Scharf's artwork looks fantastic.
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DICK TRACY #1 has a great murder mystery at its heart, strong detective noir crime vibes, which is what appears the creators were going for. You get all the classic elements of the original source material for Dick Tracy, and the ending is pretty strong. You want to know whats going to happen next, and youre invested in Dick Tracy as a character.
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EDENFROST #4 ffers a solid conclusion to the fantasy tale, blending intense action with character growth. While the pacing of the ending may feel rushed, the overall narrative and artwork make for an engaging read.
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FLASH GORDON #1 resurrects the pulp action hero for a new generation when Flash Gordon is forced to escape Planet Death to save Dale Arden. Despite a disorienting start (possibly by design), Jeremy Adams's script gradually picks up steam to reach a super-strong second half and a killer cliffhanger. Plus, Will Conrad's art, amplified by Lee Loughridge's exquisite coloring, looks fantastic.
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GI JOE #272 is a massive buildup that promises an epic showdown with COBRA. The art team pulled off a minor miracle with the sheer volume of character work, and Hama's story sets up a cinematic battle in the next issue.
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GI JOE - A REAL AMERICAN HERO #275 takes the "tell the story through art" model to an extreme with great success. The artwork is spot on for the material, and it wraps up the arc in a neat little bow. I highly recommend this series for GI Joe enthusiasts.
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G.I. JOE: A REAL AMERICAN HERO #305 delivers smart plotting and interesting developments. Serpentor emerges as a formidable tactician, orchestrating events to his advantage. While the momentum slows, the issue remains engaging.
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G.I. JOE: A REAL AMERICAN HERO #309 is a fast-paced action-fest from start to finish. Larry Hama keeps a surprising number of teams moving in different directions to keep the variety and dramatic complexity high, and the art team's output looks great. This series is one of the consistently best comics out of Skybound since they acquired the Hasbro license.
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GATCHAMAN #3 continues the vibrant, faithful adaptation of the classic adventures of the Science Ninja Team with a thrilling undercover mission. Cullen Bunn continues to recreate the themes, atmosphere, and pace of the original series, and Chris Batista's reverent art looks amazing.
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GEIGER #2 serves as another step on Geiger's path to find a cure while serving up a morality tale about mercy in a time of survival. The plot doesn't move much, but every scene matters and the art team's visuals are outstanding.
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GEIGER #8 will set hour shorthairs on edge when Geiger and Nate enter an idyllic town unaffected by the ravages of nuclear war. Geoff Johns successfully creates an uneasy atmosphere, with a town that may or may not be on the level, and the guest art team's output is stellar. That said, readers looking for more progress on the main plot may feel this side quest is unnecessary.
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GUMAA: THE BEGINNING OF HER #5 delivers great action, strong fantasy elements, and intriguing mysteries. Despite minor flaws, it remains an engaging issue.
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GUMAA: THE BEGINNING OF HER #7 ends the volume with a classic battle between good and evil, but the last moments leave the door open to interpretation. JeeHyung Lee's tale is packed with urgency and energy, and the art team's visuals are gorgeous.
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HONOR AND CURSE #7, available from Mad Cave Studios on January 6th, 2021, weaves in the intricacy and drama of Japanese feudal epics and combines the story with powerful mythology and magic. The art is excellent, and the issue ends on a promising cliffhanger.
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HONOR AND CURSE #8, available from Mad Cave Studios on February 10th, 2021, continues the Japanese epic with melodramatic reveals, spirit demon fights, and rich, political intrigue. It's not a fast or easy read, but the art and intelligent storytelling make the effort worth it.
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Despite minor issues, HORROR & FANTASY ILLUSTRATED: CRADLE OF SHADOWS is a solid sci-fi horror comic with an intriguing concept, good pacing, and fantastic alien monsters. Fans of the genre will definitely enjoy this comic.
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HORROR & FANTASY ILLUSTRATED: PLUM ISLAND serves up a love story that turns into a tragedy with drama, gruesome deaths, and heartbreak. Franchini's script hits all the right notes to craft a double-sized issue that reads quickly and is impactful, and the art team's visuals are excellent.
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HUMBABA #2 is super-imaginative, good technical execution on the script as far as dialogue pacing and what have you, and lots of anticipation and momentum towards wanting to know what comes next, which is always what you want coming out of a story as you have going into the next one. On the downside, theres some little motivation questions or curiosity questions you would have expected somebody in Gils position to ask that he didnt. It feels hes taking a pause there, but minor nitpicks overall.
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JIM HENSON'S STORYTELLER - GHOSTS #4 is a haunting, sometimes heart breaking, tale that reminds you a promise to a loved one can overcome the fear of the dark and even Death itself. Highly recommended.
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JONNY QUEST #4 is an excellent penultimate issue that sets up Jonny and his friends for a ripping showdown in the finale next month. Joe Casey's script nails all the voices of the characters to match the source material, and the artistic choices from Sebastin Piriz are on point.
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KOSHER MAFIA #4 is another winning entry in the period thriller when Howard and Ephraim put their lives on the line to save their community. David Hazan's Jewish-centric script gives casual readers a sense of culture by organically wrapping the religious aspects around a solid adventure, and Sami Kivel's artwork successfully portrays the style and esthetic of the Interwar Era.
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Nemesis: Rogues Gallery #3 makes you feel funny about having fun with evil, but Mark Millar makes it look easy. The writing takes one or two shortcuts to get the reader from A to B, but the journey is so much fun that you don't mind.
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RED SONJA & VAMPIRELLA MEET BETTY & VERONICA #10 is a fun and "out there" issue. It lays the groundwork and motivation for a potential battle between Earth and Drakulon with high stakes (no pun intended).
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REDCOAT #1 is going to be a big hit with folks that like alternate or fictional history type stories because its history with a magical or fantasy twist, and the main character is charming to a point, even though hes imbued with bad habits and makes the same mistakes over and over again. On the plus side, theres a lot of charm and a lot to like in this first issue with the fantastic art. On the downside, the personality of the main character may get annoying after a period of time if he doesnt show some character development and character growth
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REDCOAT #5 continues to build momentum, interest, and entertainment when Geoff Johns sends his most unlikable character on a hero's journey, whether he likes it or not. Simon Pure's adventure gets better with each issue, and the art team's vivid output is fantastic.
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ROOK: EXODUS #2 cranks up the emotion, drama, and action for a desperate tale of survival that evolves into a primal tale of revenge. Geoff Johns gives you oodles of action and drama in equal measure, albeit sorely lacking in the background details, and Jason Fabok's art is next level.
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SACRED SIX #1 kicks off a complex new story in the Vampirella universe. The characters are fully-realized, and the art, from two separate artists, is dramatic and perfectly suited for the horror genre. This is worth a look.
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SPACE GHOST #1 is an impressive first issue showcasing a familiar reverence to Space Ghosts origins while updating the story with an elevated atmosphere of excitement, drama, and adventure. Longtime Space Ghost fans have a lot to like in this issue, and new readers will have no trouble jumping on.
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SPACE GHOST #2 gives readers a new origin story for the titular hero, brings in familiar enemies, and sets a course for high adventure. Pepose's well-crafted script gives readers plenty of action with strong emotional beats, and Lau's artwork is an excellent complement to Pepose's darker, more serious version of the character.
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SPAWN #353 is an action-packed, stakes-raising (*heh), gritty, gory tale from beginning to end. McConville unveils the motivation behind Spawn's vampire hunt to great satisfaction, and the art team's visuals are bloody good.
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SPAWN #355 is heavy on information and light on action, but the net result is a comic that heaps on tons of intriguing clues about Greenworld, Nyx, Lyra, and more. McConville and McFarlane's plot is engaging and packed with drama, while Brett Booth's art is next-level gorgeous.
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SPAWN #357 is a rock-solid Spawn issue that gives substantial focus to Lyra as the multiple forces look to overcome the Dead Zone's effects. McConville's script gives readers plenty of action and plot movement at a brisk pace, and the art team's visuals look amazing.
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SPAWN #359 is, on its surface, a setup issue, but there's nothing surface-level about the information Spawn receives and the implications of the choices before him. Rory McConville and Todd McFarlane set up a "lesser of two evils scenario with huge implications for the title going forward, and Brett Booth's artwork is magnificent.
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STEALTH #3 is a strong mid-point in the story arc that looks and feels like a classic Batman/Joker story. The writing is grounded and hits all the right emotional notes, and the art matches the emotional punches beat-for-beat. This is a solid recommend.
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THE SACRIFICERS #11 brings the second arc to a close with drama stacked on drama stacked on drama when the consequences of Soluna's disappearance bear painful fruit. Rick Remender taps into heartbreaking emotion with this tragic fantasy, and the art team's presentation looks fantastic.
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THE SAVAGE SWORD OF CONAN #2 isa dream for Robert E.Howardfans with two stories showcasing Howardsgreatestcharacters by creators who love them.Jim Zubs story is atreasure ofhorror, action, and emotional depth.Patch Zirchers next chapter in a Solomon Kane monster huntis a perfect fit forthe Puritan adventurer.The art, unfortunately, is less than ideal in the Conan story.
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THE SCORCHED #27 offers great action, high drama, and stakes. The introduction of resurrected character adds a n intriguing twist with far-reaching implications. Despite a few filler pages, its a solid issue.
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THE WOLF AND THE CROW #1 is an interesting, prehistoric drama that evolves into an interesting, dark fantasy. The writing builds a fully-realized world in record time, and the art is spectacular. I'm keenly interested to see what happens next.
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TRANSFORMERS #14 concludes Starscream's origin story and begins his comeback fight to regain control of the Decepticons with a wild and oddly comedic issue. Daniel Warren Johnson rules with the best comic adaptation around, even if the mildly comedic tone doesn't match the rest of the series, and Jason Howard's guest art upholds the quality of the series.
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UNIVERSAL MONSTERS: FRANKENSTEIN #4 brings the film adaptation with a twist to a close when Michael Walsh's unique twist explains the monster's most tragic mistake, leading to a cascade of violence. Walsh understood the novelty of finding the story within the story to give the film a fresh perspective, and the artwork looks fantastic.
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VOID RIVALS #13 begins a new volume with drama, cool developments, and the biggest step yet towards an eventual crossover with G.I. Joe and Transformers. Robert Kirkman expertly keeps multiple threads moving to give all the players a meaningful moment, and De Felici's artwork keeps getting better and better.
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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.
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DEATH TO THE ARMY OF DARKNESS #3 is exactly the kind of gonzo, crazy, horror-comedy antics you expect from Army of Darkness. The writing is silly fun, the art is strong overall, and the source material is treated with respect (Always a plus when it comes to adaptations).
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DUNGEONS & DRAGONS: AT THE SPINE OF THE WORLD #1 delivers the goods on a rock-solid D&D story. The writing holds up against the best dungeon masters, and the art is captivating. I highly recommend this book.
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GRIT #2 adds in character development and story to breathe new layers of life into this Southern High Fantasy world. Wickman's story shifts multiple gears from last issue without losing any of the spark, and Castaniero's art blends with the story perfectly.
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KILLING RED SONJA #2 is a well-constructed chapter in the series that shows the characters evolving along with the quality of the art. It may seem odd to have a Red Sonja series without Red Sonja, but it's keeping my attention...for now.
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Monstress #29 is a tough read for the sheer weight and brutality of the subject matter. However, It's beautifully artistic in its execution. The story is complex and "human", and the art if high quality for its fearless depiction of war.
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REAVER #10 answers all the right questions while opening the door for many more; all through the lens of of brutal, non-stop action. I'm eagerly anticipating how this run will end in the next issue.
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SEA OF SORROWS #1 forces you to hold your breath while reminding you to be afraid of the dark. The art drowns you with a moody atmosphere, and the storytelling is brutally efficient. This is a must-buy for horror fans.
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STAR WARS BOUNTY HUNTERS #2 is a solid entry in this story arc. The pages are action-packed and each bounty hunter gets to show off their skillsets.
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WYND #4 is an emotional roller coaster, filled with suspense, excitement and a touch of grief. The writing fills in some of the missing gaps from prior issue in a satisfying way and the artwork is consistently great. I'm anxious to see where the fellowship goes from here.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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?
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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BUZZARD & BONE #1 is an imaginative and interesting first issue. The world feels expansive and lived-in, the character and setting designs look authentic for the period, and the drama keeps the pot of tension boiling all the way through. That said, several characters and their relationships are introduced and changed very quickly, so it was sometimes difficult to keep track.
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BY THE HORNS #6 is a gorgeous, emotional, and wordless entry into the now-ongoing series that fills in the gaps of Elodies origin as a unicorn killer. With the final puzzle pieces in place, the real question becomes Which is the bigger challenge: Stopping the evil wizards from consuming all the magic in the world? Or, finding a way for Elodie to atone for her atrocities?
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BY THE HORNS #7 moves the plot along in this penultimate issue of the arc to show the aftermath of everything that happened in issue #5. The pacing is excellent, the big fight at the end is brutal, and we learn more about the villains motivation and the devastating implications of her plan. If that wasnt enough, this series still has the best art of most comics on the market today.
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CARRIERS #2 improves by leaps and bounds over the first issue with a more believable story, in both art and writing, about a criminal conspiracy with high stakes, explosive battles, and seedy underworld crime figures. This is a proper beginning to an engaging arc that shows a lot of potential.
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CHARRED REMAINS #5 is a solid horror entry in the series. It includes gore, blood, violence, and shocking revelations. The issue establishes a sense of urgency, with a hurricane approaching and the protagonists hunted by the cult. Overall, its a great action with moments of terror and emotional gut punches for the protagonists.
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CHILDREN OF THE BLACK SUN #1 puts a fresh veneer on the modern retelling of The Village of the Damned (1960) with a sci-fi/horror tale about unusual children born during a bizarre cosmic event. The anxiety and unease are palpable as the story builds a growing sense of dread while accelerating toward some terrifyingly unknown destination.
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COBRA COMMANDER #2 proves to be an entertaining and surprisingly violent installment. The search for Energon provides a simple yet effective plot, serving as a great entry point to understand Cobra Commanders character. The technical aspects of the writing are commendable, and the art, though not groundbreaking, complements the narrative. Its a solid addition to the Cobra Commander saga, offering a blend of action, character exploration, and intriguing story elements.
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CONAN THE BARBARIAN #5 catches up with an older and jaded Conan for a new adventure that ties the present to the past. Zubs picture of a more mature Conan gives the series the weight of continuity and importance, while the addition of Braithwaite on pencils/inks is a welcome change in style.
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COVER THE DEAD WITH LIME #1 is a satisfyingly grim and creepy story about a 17th-Century plague with a zombie twist. The story projects a strong pall of tragedy, and the art smothers you with gloom and hopelessness.
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COVER THE DEAD WITH LIME #2 is a strong issue that builds out a world teetering on collapse with survivors struggling to hold on. The mood is dark, depressing, and horrific, elevated by a perfect art style to match.
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COVER THE DEAD WITH LIME #3 is another heart-rending entry in the series as Tellers current plight forces the memory of his deceased sons last days to the surface. Tellers desperation and grief are palpable, and the art teams dreary, filthy art amplifies the atmosphere of dread.
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CREEPSHOW (VOL 2) #2, as the name suggests, is a creepy anthology with two tales of terror to give you the chills on a dark Halloween night. Both shorts are strong in their art and story, and the overall anthology is a solid horror read.
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CREEPSHOW HOLIDAY SPECIAL 2023 #1 delivers two short stories about bad people doing bad things and getting what they deserve, Christmas style. Both shorts have creepy premises that conclude with a satisfying ending, and the art teams offerings are mostly good.
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CRUSADER #4 wraps up the sword & sorcery adventure with drama, action, emotion, and the opportunity for more. Emmons deserves all the credit for bringing the expansive story to a close in a single issue that still satisfies, and Lukins stylized art projects energy and emotion where it counts.
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CULT OF DRACULA #2, available from Source Point Press on Aril 28th, 2021, is a careening freight train of damaged people with troubled lives heading for the proverbial cliff. The story is as heartbreaking as it is monstrous, and the art doesn't shy away from displaying every gory detail.
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CULT OF DRACULA #3, available from Source Point Press on May 26th, 2021, answers more questions, reveals more legacy and turns up the gore for a satisfying issue. Despite a confusing prologue, this is one of the best horror comics on the market right now.
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CULT OF IKARUS #2 is a significant step up over the first issue in terms of story creativity and overall intrigue. While this issue is long on dialog and short on action, this is an excellent world- and character-building issue to establish the foundation for all the players and set up curiosity for what comes next.
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DAHLIA IN THE DARK #5 delivers the goods in a penultimate issue with explosions, magic, mind warps, and most importantly answers. Corallo's script perfectly sets up a big finale, and the art team produces the most creative visuals of the arc.
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DAHLIA IN THE DARK #6 delivers plenty of action, emotional depth, and closure for the myriad plot threads for a relatively satisfying ending. Corallo's story brings the conflict to an end with a little hope for a brighter future, and Milana's art is visually engaging.
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DAMNED, CURSED CHILDREN #4, available from Source Point Press on April 28th, 2021, takes the tropes of survivors coming together in a zombie apocalypse but adding the refreshing twist of using their heads when the circumstances call for it.
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DANCING WITH THE DRAGON #1 takes readers on a fast-paced crime thriller story with a pair of not-so-good do-gooders. The writing builds out flawed protagonists you cant help root for, and the art infuses this first issue with a cinematic quality.
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DARLING #2 takes the readers from one trip on to a completely unexpected new one. Its a jarring yet surprising plot change that makes this series more interesting than we were originally led to believe.
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DEAD BY DAYLIGHT #3 solidifies and accelerates the Legions descent into darkness when Joeys stressful life gets the push he needs to embrace the way of the mask. Sammass story sets Joey up for the perfect fall, and Snooks art is elevated by Lecces outstanding coloring.
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DEAD KINGDOM (VOL. 2) #2 gives us exactly what we were hoping for! Its more than just a medieval zombie story now, it has depth and a magical history to uncover. The stakes are higher, the world is bigger, and the journey feels totally fresh. .
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DEJAH THORIS VS. JOHN CARTER OF MARS #4 is a classic pulp serial adventure in the best sense of the phrase. The action is thrilling, the mad scientist villain is gleefully evil (and a little bit funny), and the cliffhanger promises a buildup to a world-shaking finale.
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DEJAH THORIS VS JOHN CARTER OF MARS #5 is an example of doing decompressed storytelling the right way. Even though the issue doesnt make significant progress on the plot, there are enough cool developments to keep things moving, and the entire issue is peppered with exciting action from beginning to end.
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DEVIL'S DOMINION #4, available from Blackbox Comics on MAY 19TH, 2021, takes weighty, traumatic themes and puts a demonic spin on them to make this issue a tragedy as much as a horror comic. The art, writing, and execution are all top-notch, so it's worth checking out.
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DIE!NAMITE #5, available from Dynamite Comics on February 17th, 2021, wraps up the zombie apocalypse from Hel with an all-new status quo. The art is excellent, the action is fast-paced, the little bits of comedic relief jokes all land, and the potential going into the next series is wide open.
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DIE!namite: OUR BLOODY VALENTINE, available from Dynamite Comics on February 3rd, 2021, is a funny, sweet, awkward, and sometimes gruesome love story. The art is solid and the humor landed in every scene.
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DOCTOR WHO: EMPIRE OF THE WOLF #2 significantly improves on the first issue by spelling out the paradox and improving the narrative flow. While theres barely any action and the first half is very dialog-heavy, the pacing is brisk and the reading is more enjoyable.
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DOCTOR WHO: EMPIRE OF THE WOLF #3 improves on the narrative flow and infuses the main villain with relatable nuance for an entertaining entry in the series. Houser rightly avoids the overused villain is just misunderstood trope by allowing the consequences of Evil Roses actions to create conflict on multiple fronts. The art is great and does proper justice to the real-life actors.
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DOCTOR WHO: EMPIRE OF THE WOLF #4 ends the current arc with high-energy pacing, charming Doctor-ing as only the Doctor(s) can, and a sufficiently timey wimey plan that should make Whovians happy. The art is excellent, and the ending has all the feel-good elements you could wish for.
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DON'T SPIT IN THE WIND #2 continues Travis's no-good, rotten, very bad day with crazy cults, giant monsters, and the threat of civil war. Carodselli's unique approach to contrast through extremes leads to interesting visuals and caustically funny scenarios, and Dan Lee's coloring packs an added punch.
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DONT SPIT IN THE WIND #4 ends the mini-series with deep, thought-provoking ideas about the purpose of life in all its forms. Cardosellis story about the end of life as we know it takes on multiple layers of meaning, and the open-ending gives readers much (too much?) to think about.
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DOWNLOAD #1 takes the familiar trope of middle-schoolers gifted knowledge of something mysterious and crafts a fresh science fiction story. The mystery is played up well, the science fiction is plausible yet fantastical, and the hint of a shadow organization adds dramatic tension to whatever comes next.
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DOWNLOAD #3 was a surprising issue in more ways than one. The good artwork is elevated by excellent coloring. The storys frantic pace works well for how the story unfolds. And the dark, violent turn gives the series an unpredictably tense edge.
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DRACULINA #1 picks up where the Vampirella run and Secret Six left off by putting Draculina on a personal mission to free herself from her shared prison. The art is fantastic, and Priests running admirably recaps Draculinas bizarre status quo heading into a clean and clear story.
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DRAGON WHISPERER (VOL.2) #2 is a pleasant, family-friendly adventure that mixes Harry Pooter-style whimsy with a Dora the Explorer-type adventure and a mild dash of steampunk thrown in for good measure. The art is visually appealing and a perfect match for the writing, and the writings technical execution is spot-on for a family-friendly adventure.
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DREAM MASTER #1 is a lightning-fast, creative, and intriguing read about a realm where nightmares become deadly. The pacing matches an Olympic sprint (except for a brief lull in the middle), and the art evokes the wonder and fears of imagination without restraint.
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DUKE #2 is a positive step for Skybound and Image Comics. Despite minor grammar foibles and a feeling of being a setup issue, the overall experience is fast-paced, action-packed fun.
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EDIE #3 stands out as a robust and thrilling chapter. The blend of gross-out horror, tragic undertones, and improved narrative focus makes it a compelling read. Despite a minor hiccup in logic, the emotional depth and escalating horror elements make Ed #3 a standout issue. If youre a horror aficionado with a taste for the macabre, this series is shaping up to be a must-read.
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ELRIC THE NECROMANCER #2 significantly improves over the first issue to conclude the first leg of Elric's adventure with a cleaner, clearer plot and stunning art. The story is small, but the implications are massive in scale. Elric fans will be very happy with this issue.
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ELVIRA IN MONSTERLAND #1 hits the nail on the head with a reference-laden, hilarious adventure through the Movie Multiverse to stop the original Dracula from amassing an army. Almost all the jokes land, the movie and actor references could fill a dozen baskets with Easter Eggs, and the caricature art does the actors justice.
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ELVIRA IN MONSTERLAND #4 gives Toho its due by sending Elvira to Monster Island to meet the biggest monsters on the planet (literally and figuratively). Vlads plan is clever, the nostalgic callbacks are heartwarming for Godzilla fans, and the art is first-rate.
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ELVIRA MEETS H.P. LOVECRAFT #1 takes a commendable step in the ongoing series. Avallone skillfully balances the exploration of Lovecrafts complex character while staying true to Elviras adventurous spirit. The artistic prowess, especially in depicting Lovecraftian horrors, adds a layer of visual excellence. The redemption arc for Lovecraft and the clear explanation of the Elder Gods versus the Great Old Ones showcase Avallones deep appreciation for the source material.
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EXIT CITY #1 launches a cyberpunk tale of murder and corruption in the world's most technologically advanced city. Mark London's futuristic crime thriller successfully captures shades of Blade Runner and Alita: Battle Angel with a little less pop, and the late Karl Mostert's art looks fantastic.
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EXTRAORDINARY #0, available from Titan Comics on May 5, 2021, is an excellent start to a fantasy/horror story with respectable echoes of Stephen King and The Twilight Zone. It's worth the purchase, especially for the cover price.
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EXTRAORDINARY #1 is an intelligent and action-filled introduction to an intriguing new story. The stylized art fits the Frankenstein motif, and the writing keeps a brisk pace while simultaneously touching on thought-provoking ideas.
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FAIRY TALE TEAM-UP: ROBYN HOOD & GRETEL delivers a compelling superhero story filled with action, intrigue, and teamwork. While the villain may lack originality, the strong character dynamics and captivating artwork make for an enjoyable read.
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FALLEN #2 turns the unusual murder of Zeus into a proper and well-executed detective noir story. The script and art complement each other beautifully with snappy banter amid moody shadows. That said, the magical murder mystery is a little light on magic.
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FALLEN #4 heightens the stakes and the momentum as the different gangs of gods hurtle toward war. The mystery and plot structure are well-crafted, and the killer's identity goes a long way toward expanding the scope of the conflict. Couple the solid script with equally great art from Ponciano, and this issue is a winner.
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FIRE AND ICE #3 is a banger of classic fantasy action from start to finish. The ten-month hiatus between issues is a bummer, but Bill Willingham didn't miss a step, and Leonardo Manco took full advantage of the extra time to craft a gorgeous-looking comic.
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FISHFLIES #2 eases back on the pacing but delivers a fragile, tender, budding friendship between Franny and her monstrous friend. Lemires ability to communicate deep emotion and meaning with a single facial expression in a single panel is amazing.
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FISHFLIES #3 marks a turning point in the series when the police pick up Lees trail, forcing Francis to make a painful choice. Franciss small decision has huge potential for the future, and Lemires stylistic art communicates so much in the smallest gestures.
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FREAKSHOW KINGDOM (ONE-SHOT) is a sometimes heartbreaking, sometimes thought-provoking, and entirely surprising human drama in the midst of a zombie takeover. As with any anthology, the quality of art and writing will vary from story to story, but every short in this issue has a unique idea to offer.
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G.I. JOE: A REAL AMERICAN HERO #307 is another solid entry in the series that mixes military action, twists, turns, and shifting alliances in the face of Serpentor's deceptions. The art team turned in a great set of visuals, and Larry Hama's script is as authentic a G.I. Joe experience as you can get.
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GARGOYLES #1 recaptures the fun, imagination, and excitement of the original Gargoyles cartoon by (re)introducing the entire cast and setting up the big villain to come. The pacing, dialog, and character representations are on-point, and Kamadaiss cartoonish art style is a suitable match for the property.
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GEIGER #5 is another gripping comic in the Ghost Machine lineup with an issue-long fight that will have you on the edge of your seat. Geoff Johns masterfully creates a scenario and characters that are utterly believable, and the art team's execution is arguably the best in the business. That said, a gripping fight can't cover for the fact that the plot pace is incredibly slow.
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GOOD BOY #1 re-imagines John Wick (2014) where the dog survives and goes on an assassin killing spree. Its not sorta in the same vein as John Wick (2014). Its almost an exact reproduction of John Wick (2014). It sounds silly, but its not. Its badass. Go buy it!
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GRETEL: SEEDS OF DESPAIR is another solid creature feature to challenge Gretel and Calabar in their quest to find Mother Margaret. Wohls story doesnt hold back on the action/adventure aspects and peppers in plenty of drama to keep the character moments filled with tension.
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GRIMM FAIRY TALES (VOL. 2) #48, available from Zenescope Entertainment on May 12th, 2021, is the epitome of a simple superhero action issue with extra icing on top. The simple story and excellent art expertly furthers the larger arc and adds a shocking cliffhanger for good measure.
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GRIMM FAIRY TALES (VOL. 2) #49 is a strong example of a hero fighting her way out of an impossible situation to level up. The art is strong, the writing is stronger, and the 50th issue promises to be a big bang.
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GRIMM FAIRY TALES (VOL. 2) #56 continues the multiverse-hopping mission of Skye and her friends with an issue filled with action, interpersonal drama, and tons of emotion. Admittedly, theres more talking than doing in this issue, but all of it serves to motivate the characters, explain whats happening, and push the plot forward.
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GRIMM FAIRY TALES (VOL. 2) #57 is chock full of gunfights, gangsters, and monster mashing galore. The action is full of energy and mayhem, the art looks (generally) very good, and the story concludes the current leg of this arc with interesting moral questions about responsibility for a world that isnt your own.
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GRIMM FAIRY TALES (VOL. 2) #59 is a thought-provoking issue as the main characters are confronted with a world thats lost everything and is on the verge of annihilation. The philosophical question of How long do you hold on to hope? is front and center, and Franchini gives you plenty of reason to consider both sides of the question. The writing is strong, and the art is generally good, but a few rough spots with the inks brings the visual appeal down a notch or two.
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GRIMM FAIRY TALES (VOL. 2) #78 joins battles on multiple fronts for an action-packed issue with great pacing, witty dialog, and intriguing developments. Franchinis storytelling prowess is firing on all cylinders, and Kourtiss art is better than ever.
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WONDERLAND ANNUAL: ITS A WONDERFUL LIFE brings back the long-absent Calie Liddle for a fairytale within a fairy tale as Calie gets to find out what life would have been like if she hadnt assumed her role in Wonderland. The dramatic elements are thoughtful and mature, the violence and fantasy elements are horrific, and the art is strong.
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GRIMM UNIVERSE PRESENTS QUARTERLY: 2023 HOLIDAY SPECIAL revels in the holiday cheer by taking the worst representations of humanity and giving them the gift of retribution. Wrights knack for ironic horror is masterful, and the oversized art team crafted a beautifully seamless comic.
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GRIMM SPACE: P1-NOCCHIO (ONE-SHOT) is a charming, heart-warming re-imagining of the Pinocchio tale about a young boy made out of metal and circuits instead of wood. The spirit of the original story remains intact, but enough whimsy and science-fiction flourishes are present to give the classic story a fresh coat of paint.
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GRIMM SPOTLIGHT: INFERNO is a rock-solid spotlight focusing on Zenescopes bounty hunter from Hell. The plot, pacing, dialog, and character work are spot-on, and the art is equally good.
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GRIMM SPOTLIGHT: RED AGENT: BEAST OF BELGIUM is a fun little creature-feature comic with plenty of action, great monster designs, and an above-average ending. This is a solid recommendation.
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GRIMM SPOTLIGHT: MYSTERE: VOODOO DAWN is an excellent jumping-on point with great action, a clear, concise story, and excellent art. Fans of Mystere will enjoy this one-shot. New readers will have a lot to like, as well.
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GRIMM TALES OF TERROR ANNUAL: GODDESS OF DEATH is a legitimately epic tale about the kings of Hell banding together to resurrect the original, all-powerful goddess of Death. The story is grand in scale and scope, the dialog is pitch perfect, and the art doesnt pull any punches in terms of imagination or creativity. Theres a lot to take in due to the sheer volume of characters, but the narrative flows at a steady pace and the status-quo-altering conclusion more than makes up for any mild confusion.
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GRIMM TALES OF TERROR QUARTERLY: HEART'S DESIRE presents four horror tales centered around paintings that swerve as the vehicle to give terrible people what they truly deserve. Every short has an ironic twist, and the art, on average, is solid.
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GRIMM TALES OF TERROR QUARTERLY: SEA OF SOULS is one of the better quarterlies (and anthologies) from Zenescopes horror line. The protagonists give you strong reasons to hate them, so when their fates are revealed, the satisfaction levels go through the roof. Excellent writing paired with generally decent art makes for a recommended pick.
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GRIMM TALES OF TERROR QUARTERLY: BACK TO SCHOOL is one of the better horror quarterlies from Zenescope with a 4-story anthology that plays on the insecurities and angst of High School life. The weakest short is fairly serviceable, so youre going to enjoy this collection on the whole.
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TALES OF TERROR QUARTERLY: 2023 VALENTINES DAY SPECIAL delivers four tales of bloody good horror, just in time for the lovers holiday. Each story is unique in theme and art style, but they all have something to offer for readers who enjoy watching the unscrupulous jerk get whats coming to them.
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GRIMM TALES OF TERROR QUARTERLY: 2022 HOLIDAY SPECIAL is an entertaining stalking stuffer to bring a little cheer into the life of your horror-loving loved ones. The art looks great all the way through, the scares are interesting, and the connective tissue that binds the stories together is every Christmas shoppers worst nightmare.
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GRIMM UNIVERSE PRESENTS QUARTERLY: DARKWATCHERS FEATURING GRETEL, available from Zenescope Entertainment on February 17th, 2021, is an excellent on-ramp to get to know the Gretel character in the best way possible, development through her actions and purpose. Surprisingly, the art remains consistent despite the duties changing hands multiple times, and that's a real testament to the creative team's efforts.
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GRIMM UNIVERSE PRESENTS QUARTERLY: STEAMPUNK, available from Zenescope Entertainment on April 28th, 2021, has great art that captures the uniqueness of steampunk quite well, and it has a great pace for a 70-page quarterly. It's simply tough to get behind the main character who aspires to be the dominating drug lord of the world, so your mileage may vary. Still, the score will be higher based on the quality of the book, not on whether or not we agree with the story choices.
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GRIT 'N GEARS #1 takes the Old West sheriff story and gives it a steampunk robot twist, with satisfying results. The sci-fi elements work effectively, but the heart of this issue gets to the heart of a very human moral dilemma that makes for an engaging read.
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GRIT N GEARS #2 fills in the lingering questions from issue #1 and gives One a new reason to survive after a series of tragedies turn the world against sentient automatons. The sci-fi story has a genuine, human heart at its center, struggling against authentic pain, and the art is excellent.
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GRIT N GEARS #3 is an unexpectedly heartfelt issue about an automaton learning to become a reluctant parent when hes given charge of an orphan. The parenting montage is amusing, the action is dynamic, and the setup for future conflict is intriguing.
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GRIT N GEARS #5 is a chaotic, rootin, tootin, Old West battle of epic proportions. The fight doesnt happen for its own sake but furthers the story, and Nahuel Sbs art is action-packed.
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GRIT N GEARS #6 ends the series with a shocking twist that turns the tables on Razorneck and adds an extra dimension of emotion to Ranger Ones relationship with Ranger One. Fuentess finale is a rollercoaster of tension, and Nahuel Sbs art style suits the material to a tee.
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GUMAA: THE BEGINNING OF HER #6 pulls back the curtain on every mystery in JeeHyung Lees imaginative urban fantasy to escalate the stakes and pace heading into the finale. The answers go a long way toward clarifying and increasing the stakes, and the art is gorgeous.
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GUN HONEY #2 continues a hard-edged, slick, femme fatale crime story with plenty of action, danger, double-crosses, and heat. The story does a bang-up job showing Tans skills in action while injecting real consequences for her choices. The story does rely a little too much on plot contrivances for her big assignment, but the story execution and eye-popping art more than make up for the storys minor flaws.
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GUN HONEY: BLOOD FOR BLOOD #2 is a spicy, fast-paced, action-packed issue to get your hardboiled crime heart pumping. The plot is filled with plenty of twists and turns (possibly too many), and the art is gripping.
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GUN HONEY: COLLISION COURSE #2 delivers another spicy issue with gritty gun fights, a globetrotting rescue mission, and a race against the clock. Ardai's script delivers action and intrigue in equal measure, and Ang Hor Kheng's titillating art is fantastic.
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HEAT SEEKER: A GUN HONEY SERIES #3 sends Dahlia, Tala, and Cesar on a race to escape Claride and the government forces who want them dead. The chase, disguises, and crafty plans are dizzying, and the art is first-rate, but its the last-page twist that makes this issue worth the read.
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GUN HONEY: BLOOD FOR BLOOD #4 ends the arc with explosive, exciting moments that grow the characters, establish a new status quo, and leave you wanting more. The thrilling plot is filled with plenty of twists and turns to keep you guessing, and Khengs art delivers beautiful women and exciting action.
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HEAT SEEKER: A GUN HONEY SERIES #4 ends the spin-off mini-series with everything youve come to expect and more. Gunfights, sex, lots of nudity, plot twists, and death. Fans of the Gun Honey-style of pulp noir will be well and truly pleased.
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HAUNTED HOUSE: A LOVE STORY #1 is a nuanced romance wrapped in a supernatural tale about obsession, love, and tragedy. Gambros writing captures the subdued heartache of unrequited love, and his art creates a lonely atmosphere to complement the spirit of isolation and longing.
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HAUNTED HOUSE: A LOVE STORY #2 continues the poignant anthology series about a haunted house that bears witness to heartache as it wrestles with its own. Gambros scenario about marriage in decline, while the houses spirits look on, strikes an authentic note, and the quiet, detailed art draws you into the houses world.
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HAUNTED HOUSE: A LOVE STORY #3 moves forward in time when a young couple moves into the house, creating rage-inducing friction as external pressures mount. Winston Gambros thoughtful tale works as a ghost story and a romantic drama, giving the tale of young lovers multiple dimensions to consider.
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HELL SONJA #1 is an excellent primer introducing readers to the Sonja Squad and the new status quo in Hell and across the multiverse. Theres no hint of where the series is going as this issue is all setup, but you get A-Team style introductions to all the Sonjas, plenty of action, and a firm grasp on the inner working of Hells newest special ops team. If youre interested in jumping on to a multiverse adventure, this is an excellent starting point.
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HONOR AND CURSE #10, available from Mad Cave Studios on April 14th, 2021, impossibly packs more story, revelations, drama, and emotion than it seems possible in a single issue. For such a deep and dense story, the pacing is on point and the art is excellent.
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HONOR AND CURSE #11, available from Mad Cave Studios on May 19th, 2021, switches gears from complex, political intrigue to desperate battles against a massive threat. The art is consistently good, the dialog feels organic and natural, and the story kicks into a high pace.
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HONOR AND CURSE #12 ends the current arc with top-notch writing, high-quality art, and an open-ended finale that promises bigger battles to come in the next volume. The final battle ends with a big bang, but we'd like to see the bang get a little bigger next time.
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IMMORTAL RED SONJA #2 is an entertaining issue that tones down the seriousness without getting too jokey or slapstick. The bickering between Red Sonja and her armor is entertaining, the Easter Eggs of myth and legend are fun surprises, and the art is generally serviceable.
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IMMORTAL RED SONJA #4 is a strong entry in the series as Red Sonja and her cursed armor enter the next leg of their quest to find Merlyn. The story mixes action and magic for an adventure that fits snugly within Arthurian lore without subverting expectations. The art is generally good, but the facial art and dull colors lower the enjoyment factor.
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IN HIS OWN IMAGE #1 explores the dark and depraved cravings of wealthy people who look to technology to help them satisfy their urges and asks What happens when things go too far?. The violence and abuse are not for the faint of heart, but underneath the shock is the seed of an idea thats worth hearing.
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IN HIS OWN IMAGE #2 is an effective horror comic about the dangers of greedy science paying the price for its unethical ways. The gory art hits you with a gut punch and the eerie panel compositions are designed to unsettle you at every turn. If youre down with NSFW horror, put this title on your pull list.
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JAMES BOND: AGENT OF SPECTRE #3 cools down the action but turns up the heat on intrigue, quick thinking, and double-dealing. The art is as hard-edged as the lead character, and the writing nails 007 flawlessly.
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JAMES BOND: HIMEROS #1 is a strong start for 007 with a setup ripped from todays headlines. The writing is excellent, the art is solid, and despite the real-world parallels, this is a high-stakes spy adventure that should appeal to any Bond fan.
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JENNIFER BLOOD: BATTLE DIARY #2 showcases the deadly anti-heros gift for deception and manipulation to get the inside scoop on her next target. Van Lentes script is exceptionally clever, and Careys art style is a perfect fit for the subtle acting needed to pull off this con. That said, Bloods motives on this side quest are a little unclear.
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JENNIFER BLOOD: BATTLE DIARY #3 delivers grindhouse action, sharp wit, and stylized visuals. The lack of clear objectives slightly detracts from the overall experience, but its a minor quibble. The distinctive art style, blending hand-drawn characters with 3D assets, may not be everyones cup of tea, but it adds a unique flavor to the comic.
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KAMEN RIDER ZERO-ONE #2 takes Aruto on the next leg of a classic heros journey by confronting him with his weaknesses and forcing him to improve if he wants to be the hero he hopes to be. The character designs and action scenes are highly entertaining, and Arutos character growth is an instant hook.
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KAMEN RIDER ZERO-ONE #3 is an exciting, action-packed issue with a villain reveal worthy of the Kamen Rider legacy. The action is fun eye candy, and the villains origin and purpose are an interesting challenge for the fledgling Kamen Rider.
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KAMEN RIDER ZERO-ONE #4 ends the arc on a high note with fast-paced action, big hits, and explosive fights. All the threads are wrapped up neatly, but the door is open with the promise of more adventures to come.
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KING CONAN #3 is short on action but more than makes up for it with plenty of character development and world-building. The art is pitch-perfect for a Conan series, and the writing is one of the better works turned in by Aaron in recent memory.
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KING SPAWN #25 puts the brakes on the plot development but amps up the dramatic tension by putting Spawn at the center of a moral dilemma with no easy way out. McFarlanes dialog is outstanding, and the Fernandeza art is top-tier, but the plot progression feels slower and out of sync with the greater Heaven/Hell war.
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KNIGHTS OF THE GOLDEN SUN #9, available from Mad Cave Studios on January 13th, 2021, fills in tons of backstory and brings all the players together for a setup issue that doesn't disappoint. The character art is imaginative and breathtaking, and the story is expertly written. If you're into angel or fantasy fiction (or both), this is a highly recommended issue.
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KOSHER MAFIA #1 is a strong first issue and one of the better historical fiction stories about Jewish gangsters in America at the onset of WWII. David Hazan rightly focuses on a gripping gangster tale steeped in Jewish culture to keep readers from all walks of life engaged, and the art looks great.
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KOSHER MAFIA #2 builds on the first issue by turning the historical drama into a nail-biting thriller. David Hazan layers heavy doses of tension, action, and conflict to keep readers on their toes, and Sami Kivel's art is super-solid.
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LADY HEL #1 is a creative, intriguing first issue exploring one of Chaos! Comics lesser known characters. Burnham sets up the mystery well to get the readers invested, the mix of Underworld mythologies is intriguing, and the art is fairly good.
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LADY HEL #4 ends the arc with a bang, a new look for the titular character, a new status quo, and an intriguing promise for more. The art is very good, and Burnhams writing execution is excellent.
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LEAD CITY #4 is a tense, action-packed, gripping finale to an exceptional Western story. The art is captivating, the writing and plotting are excellent, and the ending feels complete. However, the ending was predictable, so you may come away feeling less than satisfied.
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LIFE ZERO #1 covers well-traveled territory in the zombie sub-genre but the creators make the story a little smarter by making the survivors a little smarter. The sharp writing is coupled with next-level art quality for a memorable horror experience.
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LIFE ZERO #6 is a hard-hitting ending for a hard-hitting zombie series. The climactic battle is gutwrenching, the art is stellar, and the door is wide open to continue the story. That said, the monstrous revelation from the previous issue gets shortchanged, and the ending is a little too ambiguous to be completely satisfying.
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LIQUID KILL #1 is a slick, brutal, cyberpunk-ish crime story about a woman Hell-bent on saving her father from ruthless kidnappers. Making the protagonist just as villainous as the antagonists is a tough sell, but this story makes it work with grimy, bloody action and a noirish atmosphere.
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LITTLE RED RONIN #1 is a very strong start to a fable about a girls loyalty to her grandmother and how that loyalty drives her to seek the truth against all opposition. Gunn almost instantly creates a plucky underdog you can root for, and Walliss art style uses action and tension to subvert your expectations (in a good way) about how impressive a woodland creature can be.
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LOCUST #4 turns down the shock & awe moments to flesh out Maxs backstory and build out the relationships that will be severely impacted in both timelines. The art is oppressive and moody, and the final pages promise big things are about to happen for our lone protagonist.
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LOVECRAFT: THE CALL OF CTHULHU is an entertaining, novel take on historical fiction about the real-life monsters encountered by H.P. Lovecraft. Pangburns take on the fiction writer is a fresh addition to Zenescopes brand of Lovecraft lore, and the art looks great.
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LOVECRAFT: UNKNOWN KADATH #1 is a reverent and faithful adaptation of one of Lovecrafts more challenging works. The translation is distilled enough to work as a comic without losing the important essence of Lovecrafts vision, the character designs are lovingly interpreted, and the overall flow of the comic is steady and strong.
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LOVECRAFT: UNKNOWN KADATH #2 is another successful chapter adapting one of Lovecrafts most surreal works. The pacing, dialog, and plot points keep the spirit of the original story without bogging down the visual in excessive narration. The art captures the look of the creatures and the mood of the setting beautifully.
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LOVECRAFT: UNKNOWN KADATH #8 ends Randolph's Carter adventure through the dream world with a terrifying meeting, a trippy tumble through infinity, and a source-accurate ending. For a Lovecraft adaptation, this is as good as it gets.
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MAN GOAT & THE BUNNYMAN: GREEN EGGS AND BLAM! #1 is the start of a surprisingly human and imaginative adventure for the cryptid duo. The dialog and relationship-building are great, and the art is even better. However, this first issue has a lot of separate threads going on, and the story tends to lose focus.
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MECHANIX #1 is a fun, wholesome, emotional story about a family of time travelers forced to rise to a challenge when one of their own is kidnapped. The story is imminently charming and relatable, the art is better than serviceable, and the cliffhanger will get you hooked for more.
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MERLIN & HECTOR #1 introduces readers to the young man behind the legend with a charming, amusing story about doing the right thing, even when it costs you. The stylized, rustic art is spot on for the mood of the setting, and the plot teases a hint of the magical legacy to come, ending on a perfect cliffhanger.
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MIDNIGHT WESTERN THEATRE #2 is a little weird, a little amusing, surprisingly heartfelt, and definitely worth the read.
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MIDNIGHT WESTERN THEATRE: WITCH TRIAL #5 is a solid way to end the miniseries, just as strong as its beginning. If you want to know more about Ortensia Thomas, this is the way to go!
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MIGHTY MORPHIN POWER RANGERS #112 puts Mistress Vile and Dark Specter on the back burner to establish what happened in the Master Arch, explain the Morphin Grid, and give Billy the quest to save them all. Flores introduces cool new elements to Ranger lore to establish the challenge at hand while giving readers an exciting tease of things to come.
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MIRACLE KINGDOM #1 is a charming, wholesome, and possibly magical story about an auditor who exposes religious con men. The script is tight, well-constructed, and oozing with intrigue. Gonzales's artwork is fresh and super-clean.
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MONSTROUS: HEARTBREAK AND BLOOD LOSS #1 is a pleasant romance wrapped in a ghost story that will make any romance lover happy. The art is soothing and sweet, and the writing is as appealing as a peaceful walk in the park.
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GRIMM FAIRY TALES: MYTHS & LEGENDS QUARTERLY: DRAGON CLAN mixes high-quality art with storytelling that's epic in size and future potential. Despite some minor quibbles with the art transition between the present day and flashbacks, this is a solid quarterly issue for the price.
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NEVERLAND ANNUAL: DARK ALLIANCE is an extra-sized annual that puts your foot on the gas and doesn't let up until the very end. The writing will keep your heart rate up with action and pacing, and the art is great from cover to cover.
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N.O.A. #1 is a surprisingly wild spy thriller with guns, explosions, criminal masterminds, larger-than-life heroes, and a dragon(?!?). Thankfully, Bergkvist plays the people straight and relatable, so when the craziness appears, the reactions feel genuine. Plus, this issue has top-notch art.
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NOOK #1 is a spooky, atmospheric ghost story set against the backdrop of WWII. The mood is oppressively in all the right ways, the pacing and dialog are excellent, and the cliffhanger grabs you with a memorable shock that will leave you wanting more.
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NOOK #3 is a creepy, tragic ghost story that speaks to the horrors of war and its unintended consequences on the innocent. The pacing is rock solid, the multiple moments of tension will have you on the edge of your seat, and the conclusion will have you guessing until the last page.
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NORTHERN BLOOD #2 is a simple, gory, and thoroughly entertaining horror comic pitting undead Vikings against WWII-era Nazis. The plot moves in a sprint, the dialog feels natural, and the action hits hard.
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NORTHERN BLOOD #3 morphs from a tried and true WWII-era zombie story into a bug-nut-crazy action shooter in the same vein as Return to Castle Wolfenstein. The zombie threats are crazy, the futuristic Nazi experiments set loose are even crazier, and the cliffhanger heading into the finale hits with the force of a small freight train.
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NOTTINGHAM #1, available from Mad Cave Studios on March 10th, 2021, takes the Robing Hood legend and gives it a grim, bloody, complex facelift. The art pulls no punches in showing you just how rough this world can be, and every character is smart, calculating, and brutal in their own way.
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NOTTINGHAM #3, available from Mad Cave Studios on May 12th, 2021, is filled with grim, gritty, noir art. The story seamlessly interweaves multiple threads that build out the complex characters and ends in a heartbreaking and satisfying way. Plus, a cool reveal at the end builds excitement for the next issue.
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NOTTINGHAM #9 is another banger of an issue in a banger of a series. The first half mixes mild action with cultural history for a slow start, but once the issue hits the midpoint, the creators pummel you with one surprise after another.
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NYX #7 is a thoroughly amusing issue as Nyx is forced to play babysitter/parent to five very hungry demon children. The satirical jokes all land, the pacing is excellent, and the art is very good. That said, the pacing is so high that you dont get a chance to learn about the children and what makes each special in their own right.
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OVER THE ROPES: BROKEN KAYFABE #3 is an enthralling read, even for non-wrestling fans. The action is intense, the twists and turns grab you from page one, and Sandlins writing amps up the emotion with mercy.
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OVER THE ROPES: BROKEN KAYFABE #5 ends the arc with the match to end all matches. Theres not much story to tell, but this issue works because it all comes down to one question who will win? The fight is a pristine example of a grudge match cranked up with all the hype and emotion you want out of a championship match, and the outcome is surprisingly (in a good way) not guaranteed.
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OZ: KINGDOM OF THE LOST #1 reinvigorates the adventures in Oz when a new villain claims the Tin Man for an evil purpose. The storys central premise is its highlight, and the art looks great.
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OZ: KINGDOM OF THE LOST #2 turns up the action and intrigue when Dorothy and her friends find an underground city at the mercy of a powerful villain. Wohls script gives you more than enough plot movement, direction, and energy to keep you hooked, and the art is great.
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PATHFINDER: WAKE THE DEAD #3 gets down to the business of running a campaign when the fellowship is forced to cross a danger-filled desert. The traps and beasties are creative, and the plot feels like it would be right at home in any TTRPG session.
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PATHFINDER: WAKE THE DEAD #4 brings the band of adventurers to the city of the dead to raise the dead or risk winding up dead. Van Lente strikes an entertaining balance between recreating the fun of the TTRPG source material and crafting a fun adventure story.
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PHOENIX FILES #1 is a solid start for a new series designed to bring one of Zenescopes lesser-known characters to the forefront. The action, dialog, plotting, and pacing are on-point, and the cliffhanger ending delivers enough mystery to leave you wanting more.
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POP-UP #1 is the kind of creepy, gory, unsettling comic that horror lovers crave. The characters are just as unsettling as the setting, and the premise of a traveling pop-up museum of horrors is ripe with potential.
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POP-UP #2 turns the creepy idea of a pop-up museum of horrors into a runaway train of evil. The story builds momentum with every page turn, like a crash you know is coming but can't turn your head to ignore. The rough art style may not be to everyone's taste, but it suits this story well.
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POSSESSIVE #1 is the story of a sad, pathetic, lonely man whose life is about to get better or much, much worse. The art is good enough to serve the story and the pacing is very good, but the tone is hard to get a handle on. That said, there are enough curious things happening to justify checking out the next issue.
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PROJECT SUPERPOWERS: FRACTURED STATES #3 is a fun and information-packed read that fills in most of the blanks concerning the fate of America after John Doe went missing. The catastrophes are creative and feel big, the rise and fall of characters establish an eclectic new status quo, and the challenge ahead seems overwhelming, as it should. That said, there are volumes of information about what happened, and keeping it straight can be overwhelming.
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PROMETHEE 13:13 #3 is a solid issue in this series that firmly switches from conspiracy paranoia into a full-blown race for survival. The star of this issue is the authentic character interactions that cover the range of emotions from resentment and fear to excitement and hope.
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PURGATORI MUST DIE #2 amps up the wild hunt with magic spells, gore, a razor-sharp and black wit, and an unexpected amount of fun. The clever shenanigans from Purgatori get her out of impossible situations, and while the plot is growing thin, the ride is interesting enough to keep you invested.
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PURGATORI MUST DIE #3 escalates the stakes and the humor for an imminently amusing entry in the series. Fawkes nails the irreverent character voices with a smile-inducing stream of wisecracks and smack talk while the Garden of Eden comes under assault. Its unclear where the series is headed, but the journey is entertaining enough to find out.
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PURGATORI MUST DIE #4 brings Purgatori's conflict with the gods to a head when her encounter in the Garden of Eden results in an unexpected development. Ray Fawkes's wit is razor-sharp, the unique twists on Biblical legend are intriguing, and the setup builds tons of anticipation for what comes next.
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PURGATORI MUST DIE #5 ends the mini-series with a monumental battle for the fate of the universe and the continued existence of the gods. Ray Fawkes nails Purgatori's strangely beguiling personality, the final battle is imaginative/clever, and the ending tweaks Purgatori's status quo just enough to be satisfying.
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RAD WRAITH #1 is a heck of a lot of fun as a horror/skateboard genre mashup. The story is a deadly serious bully revenge tale with a few moments of intentional silliness that made us laugh out loud. The art is very good and made better with excellent coloring.
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Rat City #2 leans heavily into the classic tragedy of a man cursed to become a monster. Erica Schultz builds momentum to end the issue with a wow moment, and Z Carlos's art is excellent. If you're in the mood for an Elseworlds version of Spawn, this story is shaping up to be a recommended pick.
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RED SONJA (VOL. 5) #27 presents Red Sonja who not only teaches but leads by example. The art is better than average, but the cleverness of the writing makes this one of the better issues in the series so far.
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RED SONJA (VOL. 7) #6 brings the arc to a close with deadly choices, mortal consequences, and more trouble on the horizon. Torunn Grnbekk crafts a satisfying, albeit open-ended finale, and Walter Geovanis art is above average.
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RED SONJA/HELL SONJA #3 is a surprisingly deep character-building issue wherein Hell Sonja is forced to confront mortality after having led an immortal life. The horror is unsettling, the emotional beats are profoundly deep, and the gore shocks with understated precision.
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RED SONJA: BLACK, WHITE, RED #3 is one of the strongest entries in this anthology series with excellent examples of silent stories that let the art do all the talking. While the art quality varies from one short to the next, there isnt a bad short in the bunch. All of the stories feel complete, have something to say, and make for an entertaining read.
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RED SONJA: BLACK, WHITE, RED #5 is one of the stronger entries in the anthology series with three tales that elevate Red Sonja as the ultimate warrior she was always meant to be. While the stories vary in art and writing quality, there isnt a stinker in the bunch, and you might just get a chuckle out of one or two.
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RED SONJA: EMPIRE OF THE DAMNED #2 continues Steve Niles's brutally efficient adventure tale about a quest to find a valley with treasures. The mix of action, character moments, and drama is carried equally well through the art as it is through the script. The net effect is a pitch-perfect sword and sorcery story.
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RISE OF DRACULA #2 is an interesting exercise in laying out how a vampire takeover of America is not only horrifying but plausible. The big action moments are explosive. The small intimate moments are surprisingly heartfelt. And Davis shows mastery in portraying how propaganda and radicalized ideas can make the end of humanity sound like a good idea.
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RISE OF DRACULA #5 is the latest issue in a series that hides evil in plain sight and forces you to watch it unfold when your instincts tell you to look away. In truth, this issue touches on hot button topics of the day, but the creators smartly place those topics in morally broken situations such that the characters appear to take a side but you may not be on the same side of those characters for any reason. This is clever writing and horrifying art (in a good way) that sticks with you.
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ROBYN HOOD #100 gives readers two adventures for the price of one (and a half) when Robyn Hood uses her birthday to remember old adventures and start new ones. Brushas script serves as an excellent jumping-on point for new readers, and the art is well done.
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ROBYN HOOD: SHADOWS OF THE PAST is a solid follow-up to ROBYN HOOD: HOME SWEET HOME with more punching and less pathos. However, Robyn gets her due with interesting character growth and an interesting new status quo.
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ROBYN HOOD: CULT OF THE SPIDER-QUEEN, available from Zenescope Entertainment on March 17th, 2021, will send any reader with the slightest fear of spiders running for cover. The story is simple and yet takes the time to grow the Robyn Hood character, and the art is excellent with a surprising amount of attention to detail.
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ROBYN HOOD ANNUAL: INVASION is a simple story about defeating Cthulhus Starspawn across the globe, but what the plot lacks in complexity, it makes up for in wall-to-wall action. The art, on average, is great, and the sheer volume of heroes appearing makes this annual feel much bigger than you would expect for a Robyn Hood annual.
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ROOK: EXODUS #1 delivers a creative concept with gripping storytelling and stunning artwork. However, the lack of explanation for certain elements may hinder readers immersion in the story.
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ROOK: EXODUS #3 greatly expands the world and characters in Exodus, escalating the stakes and complexity of a world on the brink of war. Geoff Johns does a commendable job giving readers plenty of wow moments, mostly through the delivery of Jason Fabok's jaw-dropping art. The past and future of Exodus is still a blank slate, but this issue gives you plenty to chew on.
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SALTY SEDUCTIONS OF THE SALATIOUS SEAS is a supernatural mystery that pushes all the right buttons for a charming, safe story suitable for all ages. The heroes are immediately likable, the mystery is well-constructed, and the supernatural elements are interesting.
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SAM AND HIS TALKING GUN #4 reads like a classical piece of music, skillfully weaving the emotions of the past and the violence of the present into an inevitable crescendo. Each timeline exceptionally builds emotion and tension until they perfectly intersect, but the outcome of the last battle comes off as slightly predictable.
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SHADOWMAN #1, available from Valiant Entertainment on April 28th, 2021, is a simple, clear, and entertaining re-introduction to a longtime Valiant character. The art is creative and gory, and the story ends the first chapter of this series in a satisfying way while still leaving a few, curious threads to set up what's to come.
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SHADOWMAN #4 continues the monster-of-the-month motif with enough artistic flair and writing creativity to keep readers invested for the next issue. The threat level feels mildly rushed but its made up for by dropping pieces to the larger puzzle of Deadsides master plan.
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SHEENA: QUEEN OF THE JUNGLE #1 (re)introduces readers to the Queen of the Jungle with a mystery centered around the culture clash of nature versus progress. The characters are established with clear, concise motivations. The setup is plausible given Sheenas disdain for the modern world. And the art is a seamless fit for the writing. That said, the first few pages are a little jarring as they assume the readers know all the players, setting, and history without much setup, and it takes a few pages to get oriented.
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SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #5 is a great ending to a very strong arc for the Jungle Queen. The main conflict with resolved in a satisfying fashion, and the art looks fantastic. That said, there were a few too many surprise reveals dropped through exposition that made the conclusion feel as if it had to rush to tie up loose ends.
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SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #6 is a great way to kick off the characters new status quo by setting her up as a public party girl who fights for justice in secret. The conflict is right in line with Sheenas brand of hero, the cover story is well-executed, and the sci-fi twist at the end builds plenty of curiosity.
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SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #7 is a mysterious and action-packed issue. The mystery of the island is intriguing enough to hold your attention, and when the more fantastic revelations come to light, the comic takes on a classic fantasy/pulp adventure vibe thats a lot of fun.
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SHERLOCK: A SCANDAL IN BELGRAVIA PART 2 #1 is a strong adaptation of the Sherlock series and episode of the same name. All the wit and charm from the show are present, and the direct adaptation feels fresh yet familiar with Manga-style art. If you love Sherlock and this episode, this is a worthy collectible.
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SHOWS END: THE SECOND COMING #2 is an effectively creepy story that mixes carnival sideshow freaks and a crazy cult with a secret agenda for a banger of a mystery. The tense atmosphere is so thick you could cut it with a bloody meat cleaver, and the character designs add whimsy to a grounded setup.
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SIMON SAYZ #1 is a grisly, moody take on murder and possession with a Biblical twist. Meuths tale ticks all the right boxes for a fast-paced horror, and the teases of an unholy war build tons of anticipation for the next issue.
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SKEETERS #2 reflects the comics commitment to its genre, effectively delivering campy B-movie horror. Its rare to find a creative team who unapologetically leans into the fun madness of B-movie horror, making this issue a must-read for fans of this particular style.
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SONJAVERSAL #4, available from Dynamite Comics on May 19th, 2021, mixes great art with unique action (a green dinosaur attacking a Hell demon?), and a revelatory story that promises to expand Red Sonja's lore in promising ways.
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SOUTHSIDE #1 is the modern-day spiritual successor to Shaft with a new character and story execution that practically drips with testosterone-fueled badassery. While the narrative structure has some confusing spots, the art and the action are so entertaining, any structural flows are easy to overlook.
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SPAWN #349 builds drama, momentum, energy, and anticipation in the penultimate issue before the final battle to claim Hells Throne. McConvilles script is paying off the buildup to the arcs finale in a big way, and Barberis art is top-tier.
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SPAWN #354 is a rock-solid issue in the series with fantastic art, surprising revelations about the mysterious assassin, and the arrival of an old character that could foreshadow the next big development in the series.
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SWALLOWER OF SHADES #1 does exactly what a Western Splatter comic is supposed to do deliver a creepy horror tale with over-the-top gore and violence. Brandts tale of a cursed mummy is a perfect setup, and Napolitanos gory art is disgusting (in a good way).
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STARRING SONYA DEVEREAUX: SCREAM QUEEN SUMMER CAMP MASSACRE takes all the schlocky, silly fun of the scream queen era and creates an equally silly and fun late-night movie party. The writing is surprisingly layered with a murder mystery that fits within the genre but has enough amusing twists and turns as a movie within a movie plot to keep you guessing. The art is generally good and portrays the real life actors close enough to pick each one out of a crowd. In all, this is a comic that doesnt take itself too seriously and squarely focuses on having fun.
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SUICIDE JOCKEYS #2 gets the band back together with mountains of emotional moments, character-building, and motivation. The art admirably caries the issue with unique backstory montages that show rather than tell each team members life story, and the writing sets the stage for a conflict with more meaningful stakes when every character has something to gain or lose.
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SWAMP DOGS #2 has plenty of heart and likability as it builds on the main characters and introduces new ones, making you dread the horror thats about to befall them that much more. The romance scenes are filled with the charm of new love, and the swampy settings visually and believably transport you to the Old South to make the surroundings integral to the story.
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TALES FROM NOTTINGHAM #2 delivers an excellent one-shot about the infamous Monsieur Reynard and his first encounter with Sheriff Blackthorne. Evertss interpretation of the Nottingham world is spot-on, and Serras art is very good.
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TALES FROM THE DEAD ASTRONAUT #1 is a well-crafted and thought-provoking series of vignettes, focusing on philosophical ideas and life lessons. Each short has something to say, wrapped in a science fiction setting, and all are recorded by the unblinking eye of a deceased astronauts aimless travel through space. The excellent art captures the dreamlike tone of the issue, and every idea is worthy of their own issue.
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TALES FROM THE DEAD ASTRONAUT #3 is another stellar (pun intended) entry in the series. Each scene paints a picture of realization for the characters where they need to move on and grow through decisions and choices that force them to confront their past or face their future. The art isartsy but thats part of the issues charms, and what the art lacks in technical flashiness, it excels in nailing the emotional beat of every moment.
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THE AGENT #3 stands out as a compelling issue, gradually gaining momentum. While it takes a moment to fully hook readers into the series, the characters of Lieutenant Rhym and Sebastien, along with escalating stakes, make the narrative intriguing. Despite Rhyms occasional resistance feeling a tad forced, the series successfully builds anticipation and delivers an engaging storyline.
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THE ATONEMENT BELL #1 beautifully takes its time building a family of characters who wrestle with grief and old conflicts as they come together at Christmastime. The character acting through the art is surprisingly realistic, and the dialog feels as natural as a family reunion in your own home. That said, this first issue is a slow burn, so set your expectations accordingly.
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THE BLACKOUT BOMBSHELL #1 is an entertaining detective noir tale with snappy dialog, surprising twists, engaging characters, and fantastic art. Southards tale is anything but boring, but the heavier moments arent heavy enough to land a punch.
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THE COURIER: LIBERTY AND DEATH #3, available from Zenescope Entertainment on Mach 31st, 2021, is filled with great art and a story brimming with pain, loss, and tragedy. It's a gut-punch ending to the current arc.
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THE DEVIL THAT WEARS MY FACE #1 is a new exorcism tale just in time for the Halloween season. However, this tale has a twist where the exorsim is part of the Devils plan all along. Peposes script brims with atmosphere and violence, and Cormacks art presents one bloody death after another for your gory enjoyment.
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THE DEVIL THAT WEARS MY FACE #2 continues the Satanic Freaky Friday tale with the Devil sowing seeds of chaos in Rome while Father Vieri tries to survive when nobody will believe him. Peposes writing maintains the horror and adds an element of adventure, while Cormacks atmospheric art pulls no punches in the gore department.
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THE ENFIELD GANG MASSACRE #6 brings the outstanding Old West drama to a close when Enfield and Amy prepare to meet their end. Chris Condon ends the mesmerizing tale with an ending thats gut-wrenching, poetic, and thoughtful. Phillipss artwork captures every look of fear, hope, and grief in vivid detail. And Condons creative approach to the ending will get people talking.
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THE LAND THAT TIME FORGOT: FEARLESS #3 combines fast-paced action with creepy character designs and a satisfying conclusion to the arc. The story feels finished but leaves just enough threads open to build curiosity for future adventures.
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THE LAST BOOK YOULL EVER READ #1 is an excellent view of a society coming apart at the seams when giving just the right push. The art is strong. The writing is stronger. And Im keenly interested to learn more about the secret of the book.
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THE LAST DAYS OF US: FORSAKEN #1 is a rich, complex horror drama about a conspiracy to use All Hallows Eve as the catalyst for a supernatural takeover. The writing skillfully weaves multiple threads to give the story depth, and the art nails the tone and aesthetic of 19th-Century London.
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THE LAST SESSION #1 is an interesting mix of slice-of-life millennials finding a bond through RPG that lasts them through High School and beyond. The art is refreshingly appealing, but the characters may be an acquired taste.
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THE LAST SESSION #4 is the strongest entry in the series yet with excellent character development, an engaging blend of fantasy and reality that furthers the story, and strong art to complement the tone and the writing.
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THE LIVING CORPSE: RELICS #4 takes a huge step forward in using what, at first, appears to be a cooldown issue and reveals a small detail that reshapes everything we knew about the Living Corpse. The writing skillfully plays up a sense of confusion and gaslighting to help the reader question reality as much as the main character, and the art, especially the coloring, nails the sense that somethings off.
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THE MIGHTY BARBARIANS #1 delivers an intriguing twist on the League of Extraordinary Gentlemen concept by bringing together the most powerful fighters from across time and myth to fight an evil that threatens the multiverse. The issue has a stiff start, but once the story gets moving, there's a surprise on every page, elevated by some of Cafaro's best artwork.
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THE MIGHTY BARBARIANS #6 brings the mighty mini-series to a close with a massive battle to save the world from Darkness. Moreci gives readers exactly what they need from a barbarian action comic, and Cafaros action art is (mostly) on-point.
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THE MONSTER MEN: HEART OF WRATH #1 goes deep into the Edgar Rice Burroughs lore and blends in the philosophical questions of the original Frankenstein to craft a frightful and thought-provoking start to the series.
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THE NINJETTES #1 shows plenty of promise and potential. The pacing, tone, dialog, and action are all on-point, and the art is quite good. That said, the beginning is a little too chaotic, but the comic settles in nicely once the killing starts.
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SCORCHED #20 pits Scorched, toe-to-toe, against Terminus to stop a violent protest against a New Mexico military base. The art is fantastic, and the battle action is even better, but some readers may be put off by the overt allusions to the January 6th protests in Washington, DC.
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THE SCORCHED #24 is a rock-solid introduction to the latest Spawn-verse villain with moody art, hard-hitting action, and a purposeful story. Layman and McFarlane have built a team thats interesting enough to stand on its own without Spawn, and the art is some of Segovias best.
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THE SCORCHED #25 delivers the backstory on The Scorcheds latest enemy while setting the stage for big trouble on the horizon. Viscerators origins and powers make her a potentially formidable foe, and Segovias art is excellent. That said, Viscerator comes off as a little rusty after a long prison term, so her status isnt quite up to the snuff of a top-tier villain.
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THE SCORCHED #26 delivers great Spawn action, cool cameos, and promises of significant developments in the future. The introduction of a compelling villain with clear motivations adds depth to the storyline. However, the issues conclusion, pausing to address the Heaven-Hell War finale, feels like a letdown. It disrupts the flow and leaves the reader wanting more from the immediate storyline. Despite the abrupt ending, the art quality is exceptional, capturing the essence of the characters and the intense action.
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THE SCORCHED #28 delivers solid storytelling and impressive art, elevating Jason Wynn as a formidable villain with the potential for future drama and action.
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THE SCORCHED #32 is a fast-paced, action-filled, issue that pits current Scorched members against former Scorched members, and nobody is pulling punches. Layman and McFarlane's script may be quick, but you get solid character work, plot movement, and meaningful action. Plus, Stephen Segovia's art is excellent.
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THE WINCHESTER MYSTERY HOUSE #1 is a quietly uncomfortable mix of hauntings and insanity to create an effective ghost story. The setup is just close enough to real-life events to feel authentic while taking enough creative license to add an entertaining flare. The character designs are spot-on, and the ghosts are truly creepy.
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THUNDERCATS #1 is respectful to the source material and feels nostalgically familiar but throws in a curveball that leaves you wanting more. The arts great, and the story promises an exciting new direction. Dont miss it!
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TITAN: MOUSE OF MIGHT #1 brings a new hero to the city streets of Earth, with great powers, cool gadgets, and an intriguing backstory that begs further exploration. The bits and pieces of Titans mission arent apparent, so you may come away feeling teased, but theres certainly enough substance here to get you to come back for more.
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TORPEDO 1972 #1 provides an engaging and unconventional reading experience. If youre drawn to the darker side of storytelling, where the protagonist is also the villain, this issue is a captivating curiosity. Torpedos character, embodying the worst of humanity, serves as a force of nature that you cant help but be fascinated by. The series of events unfolds with twists and turns, keeping readers on the edge of their seats. Despite minor hiccups in dialogue translation, the overall pacing and storytelling make it a quick and attention-grabbing read.
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TORPEDO 1972 #2 offers an entertaining blend of hyper-violence and dark humor, reminiscent of giallo films directed by Quentin Tarantino. While occasional translation quirks may briefly interrupt the flow, the overall narrative remains captivating.
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TOUCHING EVIL #15 is a curiously engaging entry in the series where readers get insight into the curse's origins, the deadly consequences of Ada's extreme attempts to be rid of it, and the fate of the evil souls who fall to the curse's touch.
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TOUCHING EVIL#18 brings the threads together for a more focused and enjoyable issue. Olivers fear and doubt over becoming a killer feel palpably real, and the backstory of the curses origin feels completely believable. The art is very good, projecting tons of emotional weight through a dialog-heavy issue.
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TOUCHING EVIL #21 is a heartbreaking and thought-provoking end to a dramatic series with an imaginative concept at its core. The threads end satisfactorily but definitely not on a happy note, and for this series, thats the best of all possible endings.
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TRANSFORMERS #8 gives you action, cameos, emotional depth, and wow moments. It's not immediately clear where the train is headed within the context of the Energon Universe, but for now, it's great enough to sit back and enjoy the ride.
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TRANSFORMERS #10 is another strong entry in the series with a backstory on Beachcomber's whereabouts, an emotional rollercoaster for the Autobot camp, and a massive cliffhanger. Daniel Warren Johnson's knack for creating powerful and complex moments is on full display, and the art team's output is stellar, but the Beachcomber portions of this issue are a little odd.
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TRANSFORMERS #13 is an excellent issue that gives readers the background on Starscream's origin as a Decepticon and signals greater involvement of G.I. Joe moving forward. Daniel Warren Johnson's script reaffirms how well he knows these characters, and Jason Howard's guest art is satisfactory.
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ULTRAMAX #1 is a well-done prison story with a unique, superpowered twist. The writing, pacing, dialog, and expected prison story tropes are all excellent. The art is average to above average for a character piece, but some characters look too similar, adding a hint of confusion to the story.
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UNDER THE INFLUENCE #3 dispenses with the hint of dark forces behind the Hot Dog Party and recounts what happens when one tragedy leads to another in a vicious spiral. Rahals escalating plot development is an intriguing roller coaster of anxiety, and Simeones art is mostly on point.
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UNDER THE INFLUENCE #4 takes readers on an edge-of-your-set journey when the Hot Dog Party threatens to turn into a deadly riot. Pauls manipulations are deviously clever (maybe), and the character acting is excellent.
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UNIVERSAL MONSTERS: FRANKENSTEIN #1 adapts the 1931 film with a twist by telling the story from a new observer's point of view. Michael Walsh's reverence for the source material in the script is spot-on, and the gothic, moody art nails the spooky atmosphere perfectly.
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UNIVERSAL MONSTERS: FRANKENSTEIN #2 builds and improves on issue #1 by providing backstory on key points to the film that make Universal's classic horror tale richer. Michael Walsh, despite some oddities in the scene progression, nails the concept for the strongest Universal Monsters adaptation yet from Skybound.
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VAMPIRELLA/DRACULA: RAGE #2 continues Vampirellas hunt to find her baby after it was stolen by a Dracula cult. Priest constructs a palpable atmosphere of anger and desperation any parent can relate to, and Rosados moody art fits the story to a tee.
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VAMPIRELLA/DRACULA: UNHOLY #3 continues the series with an emotionally impactful, fairly linear, and well-paced issue. The art is expressive, and the mystery of Draculas (potential) feels truly threatening.
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VAMPIRELLA/DRACULA: UNHOLY #5 is a stellar entry in the series with clear, linear storytelling, dramatic emotions, and the establishment of strong motivations going into the next issue. This is possibly the best Priest comic in recent memory. That said, the art is weaker in this issue than in the previous ones in this run, and it lessens the quality of the comic.
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VAMPIRELLA STRIKES #5 is a visually impressive and somewhat satisfying ending to the arc. The plotting, pacing, and dialog are all on-point. However, the ending wraps too neatly, leaving you feeling like the creators are more focused on setting up the future rather than paying off the present.
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VAMPIRELLA VS. PURGATORI #4 is an exceptional example of building curiosity, tension, and anticipation. The writing is tight and dramatic, and the art serves the story well enough.
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VAMPIRELLA VS. THE SUPERPOWERS #3 continues the sultry crime noir story with shady gang lords, undercover stings, and generally great art. However, the simmering noir atmosphere takes a hard left into typical superpowered action in the last act for a jarring reading experience.
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VAMPIRELLA VS. THE SUPERPOWERS #4 scales back on the action but turns up the heat on the mystery, intrigue, and possible conspiracies. Abnetts writing is rock solid, and the individual artists deliver excellent work, but the artist handoff in the latter half of the comic is a jarring distraction.
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VAMPIRELLA VS. THE SUPERPOWERS #5 amps up the action, the pacing, and the urgency now that the teams cover is blown. Abnetts script crackles with energetic tension, and Qualanos art heightens the drama, but the lack of progress on the main mystery suggests the finale may be rushed.
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VAMPIRELLA: DARK REFLECTIONS #1 kicks off a rousing adventure about a new member of the Reality Corps investigating a parallel Earth gone silent. Sniegoski and Acheson's script distills the complex multiversal shenanigans into a clear, concise plot about good versus evil, and Daniel Maine's art excels, especially in the trippier aspects of multi-dimensional travel.
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VAMPIRELLA: THE DARK POWERS #3, available from Dynamite comics on February 17th, 2021, shines a harsh spotlight on the “no killing” debate for heroes without settling the question. The best debates in comics are the ones that let the reader make up their own mind, and this story sets the debate perfectly. The art is a bit flat, but not enough to detract from the excellent story.
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VAMPIRELLA: THE DARK POWERS #5, available from Dynamite Comics on April 14th, 2021, is almost entirely a single scene that manages to pack in volumes of drama, emotion, exciting action, and top-notch dialog. Despite the lack of forward progress on the plot, the net effect is a mountain of setup and motivation into the conflicts to come.
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VAMPIRO: ROCKABILLY APOCALYPSE #1 is a surprisingly entertaining tale of apocalyptic proportions when a journalist goes on a hunt for an urban legend and winds up in the middle of a fight to stop the end times. Michael Kingston's script is an entertaining mix of horror, music, wrestling, and wit, and El Terrorifico Dr. Napalm's artwork is high-polished awesomeness.
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VAMPIVERSE #5 ramps up the energy and momentum for the penultimate issue in the series. When the forces of good and evil are on a collision course for an epic finale, this is exactly how the setup should be structured. Constant tension, a race to the finish, and high stakes. This issue is a great way to lead into the finale.
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VAN HELSING: HEXED is another rock-solid issue with a twist. Instead of vampires, Liesel tries her hand at fighting witches to help a friend. Pat Shand continues to demonstrate why he's the default Van Helsing writer with an oversized issue that flows beautifully. Plus, Julius Abrera's artwork is excellent.
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VAN HELSING: HELL TO PAY brings Liesel and Julie back to Earth to a waiting army of vampire mutants. Pat Shand dreams up a powerful threat that puts the heroes back on their heels and delivers the goods with urgent pacing and solid dialog.
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VAN HELSING: THE HORROR BENEATH is a mature, emotionally strong character piece about two friends grappling with a difficult medical choice. Shand keeps the context and setting ground in the Grimm Universe, but makes the scenario relatable and believable enough to apply to any two friends at the crossroads of a difficult decision. That said, Van Helsing fans looking for their regular dose of monster-hunting action may have to wait until next time.
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VAN HELSING: BLOODBORNE is a standard yet fun creature adventure with a scary monster, plenty of action, and excellent dialog and narration. This story doesnt shake up the universe or connect to anything outside itself, but if youre in the mood for an excellent standalone one-shot, this is it.
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VAN HELSING: STEAMPUNK, available from Zenescope Entertainment on May 5th, 2021, turns a standard drug ring bust with a little superheroics into a multiverse-breaking adventure with potentially catastrophic consequences. This book has great art, great action, and teases just enough to make you ask that all-important question: What happens next?
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VAN HELSING: BONDED BY BLOOD emerges as an excellent issue, blending monster hunting with a sci-fi twist. The partnership between Charlotte and Liesel brings an added layer of drama, with potential for compelling character growth. Charlottes departure from her fathers shadow introduces a fresh dynamic. The art, while generally commendable, showcases improvement in facial expressions.
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VAN HELSING: RETURN OF THE LEAGUE OF MONSTERS #2 brings the mega monster mash two-parter to a close with a beastly brawl in the bowels of Hell. The action is bombastic, the character designs are extra monstrous, and the ending does an excellent job of tying up the loose ends while establishing a new and necessary status quo for Liesel Van Helsing.
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VAN HELSING ANNUAL: SINS OF THE FATHER brings Liesels hybrid hunt to an end with a villain reveal that elevates that entire arc significantly. Shands pacing, dialog, narration, and plotting are excellent, and the art team turns in a serviceable issue.
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VAN HELSING: VAMPIRE HUNTER #3 delivers a satisfying conclusion to the three-part series, showcasing the resilience and determination of its titular character. While the lack of exposition regarding the Doomsday weapon may leave some readers wanting, the overall storytelling and artwork make this a worthwhile read for fans of the genre.
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VENGEANCE OF VAMPIRELLA #14, available from Dynamite Comics on February 3rd, 2021, takes the concept of “turning enemies into friends” to a whole new level. Although there's little action, the story is engaging, the art is excellent, and there's tons of setup for what's to come.
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VENGEANCE OF VAMPIRELLA #16, available from Dynamite Comics on March 31st, 2021, does exactly what a comic needs to do in an on-going series, shake things up in a meaningful way. The art is excellent, and the changes mean big things are coming.
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VENGEANCE OF VAMPIRELLA #24 mixes mysticism and the supernatural with The Matrix for a story about an old organization rising from the ashes of Nyxs dominance to establish a new world order. The setup is an uncharacteristic (for a Vampirella comic) lean towards science fiction to come up with an intriguing premise, albeit one that sorta comes out of left field considering the prior arc. The art deserves praise for its dramatic shadows that instill a sense of looming tragedy to make the issue feel like something dreadful is about to happen.
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VENGEANCE OF VAMPIRELLA #25 is a satisfying conclusion to the Vengeance series that ties up all the loose ends and establishes a new status quo for the titular character and a shakeup for the city and all supporting characters. The minor quibble is with how quickly the conflict came together, giving the impression the last arc was rushed albeit clever. The art is great, and in all, this is a fine conclusion to an excellent run.
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VERGE #1 is a fresh take on the time travel genre by bringing the mountain to you instead of you taking a trip to the mountain. The premise is unexpectedly original and immediately triggers fun curiosity questions, backed up with a well-written murder mystery. I like where this story is going, and I'm interested to see where the creators go next.
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VERGE #2 continues the mystery and intrigue by answering some questions while asking others. McLellans writing integrates seamlessly with the art to give readers a lot of information to hold the readers attention without slowing the pace. The art excels in terms of unique costume designs, blending classic garb with modern accessories, and the coloring elevates the average linework.
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VERGE #4 is a finale that ends an above-average time travel story with a surprise reveal about the masterminds identity and a massive plan that threatens all of Time. The art is consistently good, buoyed by stellar coloring, and the story ends well enough to build anticipation for what comes next, even if the plan is too big to be believed.
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VILLAINOUS #5, available from Mad Cave Studios on February 24th, 2021, goes for broke with the Coalition versus the Order, Pillar versus Lizarda, and nobody holds anything back. It's a satisfying conclusion to a well-fought story by all the players, and let's hope there's more room for Tales (Tails?) of Lizarda in the future.
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VOID RIVALS #1 conjures an updated version of Enemy Mine (1985) with two marooned enemies forced to work together to survive. Kirkman's writing is on-point, giving the familiar tale a fresh coat of paint, and the twist reveal is worth the price of admission.
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VOID RIVALS #3 is an adventurous, entertaining entry in the sci-fi series that elevates an already engaging story with equally intriguing connections to Transformers lore. Kirkmans script leans heavily into the spirit of adventure, and De Felicis art is the strongest yet.
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VOID RIVALS #4 ups the stakes and widens the conspiracy when Solila takes Darak before her leader as a prisoner. The mystery behind Sacred Ring grows increasingly intriguing, the surprise Transformers connection is fun, and the reading experience is smooth as glass.
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WE ARE SCARLET TWILIGHT #3 starts with a desperate retreat and ends with a renewed sense of respect, patriotism, and resolve to fight the good fight. Morses pitch-perfect writing is matched only by his astoundingly good art for a story that hits all the right notes for pulp nostalgia and classic adventure.
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WITCHBLADE #1 reboots Detective Sara Pezzinni's and the Witchblade's origin story from scratch with a tight, efficient, laser-focused first issue. Longtime Witchblade fans will appreciate how masterfully Marguerite Bennett establishes the world and characters without wasting a single panel, and Giuseppe Cafaro's art is solid. That said, rebooting the series from square one may rub existing fans the wrong way, and Cafaro's art doesn't quite live up to Michael Turner's legacy.
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WOLVENHEART #9 takes readers on a wild yet informative ride as we find out about the danger of combining dimension keys and a hint into Van Helsings grand plan. Theres a lot of information, but its presented in a fun organic way, and theres plenty of exciting vampire battles to keep readers engaged while the information unfolds.
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WONDERLAND: CHILD OF MADNESS #1 is an unsettling mix of surreal imagery and horror when a dark force mutates a mother and her children into monsters. Gregorys script successfully taps into the fears of parents who worry for their young children, and the art is impressively crisp.
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X-O MANOWAR: INVICTUS #2 is a decent enough issue that puts Aric on the offensive to attack Ursus Nox where he lives. The action, pacing, and general atmosphere of the issue are solidly entertaining, and the cliffhanger ends on an unpredictable note.
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XOGENASYS (VOL. 1) delivers a classic, Manga-inspired underdog in the form of a student, artist, and fighter given the chance to overcome his poor circumstances by stepping into the ring. McIntoshs sense of timing, character-building, and plot progression are excellent. Draper-Ivey has the right eye for drama and fight choreography, but the inks are too loose and sloppy.
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YOU'VE BEEN CANCELLED #1 is an all-too-relatable take on cancel culture, set in a dystopian future with a twisted version of The Running Man. The satirical wit and extreme violence are amusing, and Pires's script distinguishes itself with above-average character pathos.
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YOUVE BEEN CANCELLED #2 is a loud, raucous, sharp-edged hoot of a comic. The action is brutal yet entertaining, and the predictable plot twists are energetic and urgent enough to keep you on the edge of your seat.
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GRIT #1 is what would have happened if Clint Eastwood were cast in one of Peter Jackson's earlier gore films. The art is both rustic and dripping with fantasy gore. And the character introductions leave you wanting more. I can't wait for the next issue.
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JIM HENSON'S THE STORYTELLER: GHOSTS #3 is a tight mix of campfire ghost story and Irish folklore. The writing is gloomy in all the right ways, the art is creepy, and the monkey's paw twist lands a punch. Highly recommended.
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KILLING RED SONJA #1 tricks you into thinking you're going to read a Red Sonja adventure before convincing you to stay for a bizarre (and bloody) fairy tale. It's unique and interesting. We recommend picking it up.
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MARVEL'S SNAPSHOTS: X-MEN #1 is the best of the Snapshots so far by a country mile. The story is a thoughtful coming-of-age tale during the dawning age of heroes, and the artwork blends seamlessly with the writing. Strongly recommended.
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STEALTH #5 is a lean mean comics machine. The flashbacks and reveals come just as fast as the bullets, and the art packs a punch. Really excited to see how it all ends.
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WYND #4 takes Wynd and his allies into a whole new world of magic and color that infuses the standard chase story with elements of wonder. The story has a little something for everyone, and the artwork is whimsical and exciting. I recommend this issue as the strongest of the series so far.
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FISHFLIES #5 impresses with its world-building, character development, and emotional depth. The steady pace, while engaging, may feel slightly slow for those seeking a faster narrative. The unclear destination of the plot prompts readers to decide if they are in it solely for the journey or if they seek a more defined resolution.
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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.
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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.
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COBRA COMMANDER #3 delivers great cameos, intriguing twists, and solid pacing, showcasing Cobra Commander as a formidable villain. However, the prolonged interrogation scenes detract from the overall plot. Despite this, its a worthwhile read for fans of the series.
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DEAD KINGDOM (VOL. 2) #4 ends the current arc on a strong note, with its blend of urgency, action, and character development. Despite unresolved plot points, it delivers a satisfying conclusion to this volume.
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E-RATIC #1, available from AWA Studios on December 2, 2021, introduces a new hero that feels like an authentic kid trying to make it through the average troubles of life. The writing is engaging and the art pulls you into this new, albeit slightly off-kilter, world.
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EDIE #4 delivers compelling character development and thought-provoking themes. Despite minor shortcomings, such as the ambiguous ending, the issue stands out as one of the strongest in the series thus far.
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ENGINEWARD #2 satisfies your story curiosity with well-placed breadcrumbs, and the team's artwork is solid on all fronts. The revealed quest promises an exciting next issue.
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GEIGER #4 layers on mounds of emotion and authenticity in the protagonists' character development, and Gary Frank's stunning artwork makes every panel count. However, Geoff Johns's engaging script is taking the slow train to wherever this story is headed. The issue isn't boring by any means, but you're constantly left feeling unsatisfied that not enough happened by the end.
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GRIT #3 takes the story of the old dog being shown up by the young upstart and gives it a fresh coat of paint. The writing has plenty of rise and fall to keep the reader engaged, and the stylized artwork marries to the story perfectly. Strong series so far from Scout.
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GUN HONEY: COLLISION COURSE #1 returns with a new adventure, setting Joanna Tan on a mission to save the assets of a Japanese gangster before all his deadly secrets are exposed. Charles Ardai's script is an entertaining mix of action, violence, and spice, and Ang Hor Kheng's artwork is a perfect match.
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HELLFIGHTER QUIN #2, available from Mad Cave Studios on June 10th, packs a ton of action and world-building into a brisk 21 pages. It's easy reading with lots of visual interest. If the art team tightens up the minor issues with faces, this will be a very enjoyable series.
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HELLFIGHTER QUIN #4 is a bright, energetic, action-packed issue with a twist reveal at the end. The art team is showing significant improvements over the prior issues, and the writing is top-notch. Lots of promise for what's to come.
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HOLMES & HOUDINI #3 concludes the miniseries with a satisfying resolution, tying up loose ends while leaving room for future adventures. Although some plot developments feel rushed, the comic delivers an entertaining blend of magic and espionage.
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JENNIFER BLOOD: BATTLE DIARY #5 elivers on its promise of wild action and unexpected twists, bringing the miniseries to a satisfying close. While some moments may push the boundaries of believability, the overall storytelling and artwork earn it a commendable score.
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MARVELS SNAPSHOTS: CIVIL WAR #1 is one of the strongest issues in the Snapshots series by taking a successful event and finding an interesting story within the story. The writing is excellent from front to back and the art team is the icing on the cake. This is a highly recommended issue.
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OZ: FALL OF THE EMERALD CITY #1 fers engaging action and introduces compelling new characters. While it suffers from structural issues and occasional art discrepancies, the narrative intrigue and solid artwork outweigh these shortcomings.
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PROTECTOR #4 is a simple story that's anything but in execution. Everything about this issue is rough, raw, primitive, and if you look deep enough, possibly very thought provoking. It won't be to everyone's taste, and maybe that's a good thing.
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REAVER #9 is a well-executed break in the story to build the main characters and set up their team dynamic for what promises to be a blowout conclusion. The art is rustic in ways that adds to the stories setting, and Mekala is a hell of a lot of fun.
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REAVER #11 wraps up the latest arc, answers all the questions, and leaves you wanting more. The main characters have taken a big step toward embracing their place in the world, and the art is gritty, bloody fun. Highly recommended.
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SANCTION #1 is a blustery murder mystery set in the 1980s Soviet Union, led by a young detective willing to find justice during the frigid haze of Winter and pressure from his superiors. Fawkes's tale expertly echoes shades of Gorky Park (1983) and Insomnia (2002) with a fresh perspective, but the art is serviceable, at best.
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SONJAVERSAL #1, available from Dynamite Comics on February 3rd, 2021, takes the “what if” scenario of alternate Sonjas and brings it to colorful and imaginative life. The narrative takes a few pages to get it's footing in the very beginning, and the art has a few rough spots, but this comic is creative and fun. I have no idea where this story is going next, and I'm interested to find out.
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THAT TEXAS BLOOD #4 turns the heat up a few ticks to a fast simmer before the entire town boils over. Short on action and plot movement but very long on tension and anticipation, I sincerely hope the climatic impact pays it off. I eagerly recommend this issue and can't wait to see what happens next.
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THE DEVIL'S RED BRIDE #2 slices a path of bloody carnage on the trek through the mountainside. The art grabs your attention and the story continues to build a fully fleshed out world ripe for the killing. This is a highly recommended issue.
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VAMPIRELLA/RED SONJA #8 is a surprising detective noir story with the unlikeliest of detectives. The story is simple yet perfectly matched with classic gangster films. Despite some uneven character artwork, the visuals strongly compliment the story and the genre.
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VOID RIVALS #9 delivers engaging spacefaring action, peppy dialog, and the biggest Transformers presence yet in the spinoff series. Kirkman's script is tight, brisk, and entertaining, and the art team's visuals are solid, albeit too drab.
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WYND #5 is a sound and satisfying conclusion to this original series from Tynion IV. The story hits all the right "feel good" notes in conclusion, and the art is a perfect marriage with the subject matter. I strongly recommend this series for YA fantasy fans.
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A nearly perfect restart to the adventures of Aric and Sanhara
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X-O MANOWAR #2 improves on the first issue by magnitudes with better art, more thoughtful storytelling, an enigmatic villain (or ally?), and a strong moral dilemma for our hero. This is my highest recommended book of the week.
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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.
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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.
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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.
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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.
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THE ARGUS #4 ends the time travel adventure with big action, characters leveling up, significant art improvements, and a satisfying conclusion.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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BUMP #1 is an entertaining, effective horror anthology with a collection of flash fiction shorts drawn by an assortment of artists. The worst short is still pretty darn good, so horror fans who like their horror short and sweet will enjoy this anthology.
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BY THE HORNS #1, available from Scout Comics on February 24th, 2021, takes the classic beautiful-maiden-and-unicorn relationship and turns it into something completely different. The art is bright, clean, and beautiful. The writing, especially the talks between characters, feels organic, natural, and original.
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BY THE HORNS #5 is a gorgeous-looking book that up until now has captured a heartfelt, nuanced adventure story with unicorns, wizards, and monsters. Unfortunately, the central conflict of the series is nearly undone with a shortcut of a cliffhanger that almost invalidates the heros journey. This is still one of the easiest Scout books to recommend, so the score will reflect high marks for the outstanding technical execution, even if we strongly disagree with the story choice in the cliffhanger.
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CANTO AND THE CLOCKWORK FAIRIES is the simplest of fables but is thoroughly enjoyable for stellar art and overwhelming charm. This is a highly entertaining bottle issue that's completely worth the price.
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CHARRED REMAINS #3 is packed with action and a great horror atmosphere. The monster design is especially disturbing! The overall tone of the issue is unsettling and anxiety-inducing, as it should be in a horror story. However, the story itself needs a bit more focus and direction. Were enjoying the atmosphere, but a clearer sense of purpose would be great.
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CHARRED REMAINS #4 delivers a compelling blend of mystery, suspense, and supernatural intrigue. While certain plot elements may feel disjointed, the overall narrative remains engaging and immersive with stunning artwork and captivating storyline
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CHERISH #1 is a solid start for a new vigilante hero. Collinss plot drops you right into the middle of the action for plenty of attention-grabbing energy, and the art is better than serviceable. That said, the story feels a little rushed, and the main character needs more time to develop.
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CHERISH #2 introduces a bevy of despicable villains for our high-tech hero to tackle, and the closeup art, as well as the fight choreography, looks great. However, there are almost too many new characters introduced to keep straight, and the art quality drops in wider panels.
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CHERISH #3 is one of the better, if not the best, issues in the series so far. The action is great, the plot reveals a lot about the missing pieces of the story from the first issue, and the arcs momentum is picking up steam.
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CHERRY BLACKBIRD #3 is dead set on telling you a fast-paced, action-filled, grindhouse-styled story with all the shock and awe you can handle. While the rated-R material is a bit outside the mainstream sensibilities of most publishers these days, its a heck of a lot of fun. Check your trigger warnings at the door because this comic is not for the weak of heart.
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CHERRY BLACKBIRD #4 continues the grittiest of grindhouse adventures for our titular rockstar/bounty hunter for Beelzebub. The art is suitably filthy, and the story injects surprising amounts of character depth into an otherwise entertaining schlockfest.
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CONAN THE BARBARIAN #17 begins a new adventure during Conan's seafaring era when the Cimmerian and the Pirate Queen of the Black Coast undertake a quest for treasure and excitement. Jim Zub's script gives new readers a perfect introduction to Conan's greatest love, even if the adventure's start is light on drama, and guest artist Danica Brine's artwork is solid.
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CREEPSHOW (VOL. 2) #1 continues the tradition of shocking tales with a hard edge to tickle your terror bone. Enniss take on the Pro-Life movement is properly gross but ridiculously heavy-handed, and Hesters tale about an archaeological discovery takes the top spot for best story.
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CREEPSHOW (VOL. 2) #3 is a rock-solid horror comic with two shorts that look and feel very different in terms of subject matter and visuals but do an equally good job of nailing the horror of their respective plots. Farrelys double-cross plot reads more like a traditional monster story, while Thorogoods tragic tale of irony delivers plenty of horrific imagery.
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CREEPSHOW (VOL. 2) #4 is another fine issue in the anthology series to show you naughty people getting their deliciously twisted just desserts. Of the two shorts, Nick Dragottas tale about a bratty boy earns our top marks for reading entertainment, but both tales have something to offer for horror comic fans everywhere.
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CRUSADER #1 sends a Templar Knight to a world of magic and monsters in a fast-reading fantasy/adventure. Emmonss setup is as clean, clear, simple, and efficient as it is entertaining. The art may be an acquired taste, but Emmonss excellent coloring makes the visuals accessible enough for anyone.
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CULT OF DRACULA #4 ups the epic scale and history of the cult to biblical proportions. The art is gloomy and gory, and the writing fills in plenty of blanks to answer open questions in a satisfying way.
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CULT OF DRACULA #5 continues building the emotional consequences of the cults massacre as Minas bond with her mother promises to lead to something monstrous. Although the story is starting to get in its own way with too many threads, theres still a lot to like about this series.
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CULT OF IKARUS #1 kicks off a new series with a very familiar story about vampires, vampire killers, and the chosen one at the center of it all. While the story is familiar, the tone, vibe, and art style are wholly unique. This is a recommended pick.
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DAHLIA IN THE DARK #4 turns up the volume on pacing and magical action for the most exciting issue so far. The details of Donnys past build a strong emotional bridge to the present, and the magical action is first-rate.
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DANCING WITH THE DRAGON #2 is a tense, anxious crime drama about a crook with a good heart who takes one too many chances. The writing for each scene is excellent, however, the multitude of back-and-forth time skips interrupted the pacing and flow. The art plays up the drama in every panel for maximum tension. This is a great pick for crime fiction fans.
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THE DARK AGE #6 is filled with strong, emotional art. The story contains a small mountain of surprises and plot developments, but the page count needed to be a little bit bigger to contain everything happening and do the story justice.
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DARKLAND #2 is a serviceable issue in the series that slows down the pace and plot to introduce a host of new characters that will presumably figure into the future of the arc. The dialog and world-building are excellent, and the art introduces memorably designed characters.
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DEADFELLOWS #1 is an oddly quirky and ultimately amusing horror comedy about a living loser butting heads with his dead roommates. The scripts charm is enhanced by the complementary artwork, and the ending promises more fun in the next issue. That said, the first half takes a little too long to get going, so dont give up on it until after the midpoint.
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DICK TRACY #6 begins a new murder mystery for the city's greatest detective. Alex Segura and Michael Moreci deliver a pitch-perfect detective noir thriller, and Geraldo Borges's grim setting creates an air of dread thick enough to cut with a knife.
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DISNEY VILLAINS: MALEFICENT #1 delivers a pitch-perfect capsule tale about a reckless young man who encounters the world's most powerful sorceress. The tone, style, and vibe of the story match Maleficent to a tee, and the ironic ending reminds readers what a villain can do when provoked. That said, the art lacks a significant amount of spit and polish.
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DISNEY VILLAINS: MALEFICENT #2 tells a solid story about a Prince who looks for his brother in the wrong places. Soo Lee's breezy pace and spot-on dialog emphasize one big point wrapped in an enjoyable plot don't mess with Maleficent.
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DISNEY VILLAINS: SCAR #2 continues the pitch-perfect prologue to Scar's eventual path to treason, betrayal, and murder. While the plot takes a backseat to introductions and world-building, this issue is a nostalgic treat for The Lion King fans.
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DISTEMPER #2 offers a gripping narrative in a brutal post-apocalyptic setting. If you enjoy The Walking Deads exploration of human nature amidst societal collapse, this comic is worth checking out. Be prepared for some initial exposition, but once the action starts, it doesnt stop.
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DOCTOR WHO: MISSY #1, available from Titan Comics on April 14th, 2021, is a brisk, consistent, and recognizable start to a classic Season 8-ish Doctor Who adventure. The art does justice to the recognizable actors, and the setup feels authentic to the Doctor Who experience.
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DOCTOR WHO: ORIGINS #1 is an intriguing start to a series highlighting one of the least explored Doctors in the history of Time Lords. Houser gives the Fugitive Doctor a cunning wit and assertive attitude that positions her as an instant leader, and the mission is ripe canon fodder to explain how she eventually splits from the Division. The art is generally good, but the Fugitive Doctors anatomy has consistency problems, and the art team went overboard with copy/paste.
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DOCTOR WHO: ORIGINS #2 is a solid, albeit leisurely, continuation of the Doctors adventure where she learns her orders from the Division may not be on the up and up. Taslos inner turmoil steals the show, and the art is above average. That said, the pacing may be too slow for some readers, and learning about the colonys peaceful ways take up too many pages, turning a significant portion of the comic into filler.
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DOCTOR WHO: ORIGINS #3 is a simple-yet-effective setup that uncovers a Division conspiracy, leading to an explosive cliffhanger. The writing is well-paced, the dialog is spot-on, and the cliffhanger includes a solid twist. The art is also very good with the only down point being an over-abundance of copy/paste panels.
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DON'T SPIT IN THE WIND #3 creates a whirlwind of momentum as the troubles on Earth and in orbit spiral out of control to set up the finale. Some readers may struggle with the number of disconnected threads, but all plot threads push you towards a foreboding sense of tragedy on the horizon.
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DRACULINA: BLOOD SIMPLE #1 is filled with phenomenal art and kicks of what promises to be Liliths most diabolical plan yet for her daughter. That said, almost the entire issue is a recap of the previous series, so if youre up to speed on Draculinas life under Christopher Priest, theres not much here for you. If, however, youre new to Draculina lore, you will find this issue to be an excellent jumping-on point.
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DRACULINA #2 is an interesting and informative issue that fills in the blanks about Draculinas history and her complicated status right now. Despite one or two speed bumps with time jumps, the general story flows and sets up why Draculina is such a dangerous character. On top of the wealth of information is a stellar display of art from Sta. Maria and Nunes.
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DRACULINA: BLOOD SIMPLE #2 moves on from the setup of issue #1 with a story about the fragile new status quo for Draculina and Katie. Theres a lot to like in the individual moments, and the art is exquisite, but the plot (if there is one) hasnt come together yet.
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DRACULINA: BLOOD SIMPLE #5 plants a seed that could affect Draculinas life forevermore. Priests penultimate issue has big-deal revelations and the possibility for changes in the status quo of multiple characters. If Priest can stick the landing in the finale, this may be Priests most meaningful Vampirella-related series yet.
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DRACULINA #6 is as good an arc finale as you could hope for in this series. The resolution makes sense (sorta) and establishes a new status quo for Draculina and Katie. The path from start to finish may have more bunny trails than a Midwestern prairie, but the conclusion is sound, and the art is stellar.
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DUKE #3 boasts great action and pacing. It leaves you feeling for Duke, whos in a tough spot. Its great to see a hero facing a challenge that seems insurmountable. Were excited to see how he gets out of this. The larger Energon Universe connections arent as strong in this issue as in other titles like Cobra Commander or Transformers. It mostly feels like a standalone G.I. Joe story. However, that might change in future issues.
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DUKE #4 delivers solid military-style action and maintains the tension between Duke and his adversaries. While the storyline may feel somewhat repetitive, it still offers an enjoyable experience for fans of the genre with its captivating artwork and nostalgic cameos.
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ELVIRA MEETS H.P. LOVECRAFT #4 is the best story to homage to Randolph Carter which actually doesn't contain Randolph Carter. Elvira embarks on a wild ride through the Dreamland of Lovecraft fame with an entry in the story that practically overflows with Easter Eggs, cameos, and literary reference jokes. Plus, the art is amazing. That said, some of the in-jokes and references may be too deep of a cut for casual readers.
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EVIL ERNIE (VOL. 4) #2 gives the new Evil Ernie a proper and compelling origin story with an underdog story combined with a fair bit of mystery surrounding Ernest Glickmans transformation. The dialog and art combined to sell the subtle transformation of Glickman from wimp to alpha with a surprising array of nuanced changes. That said, the inks and coloring are not clean on the close-up panels, making for a mild distraction in an otherwise stellar issue.
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EXORCISTS NEVER DIE #4 gets back to the seriess unique premise by pitting Syd and El against the deadly sin of Greed. Orlandos multi-layered approach is an interesting commentary about the ups and downs of relationships within a fantasy adventure, and the art is solid.
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EXORCISTS NEVER DIE #5 gets back to the core premise of the series with a layered battle against Envy that shines a spotlight on Els insecurities concerning Syd. The fight serves as a thought-provoking commentary on the personal faults that affect individual behavior and our relationships.
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FIRE AND ICE #1 returns readers to Frank Frazettas world of fantasy for a tale about a young unter drawn into a conflict of magic, monsters, and metal. Willinghams script is packed with plot, world, and character development to give readers the most bang for their buck, and Mancos art is inspired by Frazettas style while offering a fresh take on the iconic visuals.
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FISHFLIES #4 sends Fran and Bug on the run with another heartfelt entry in the surreal fantasy series. Lemire is a master at tugging at the heartstrings with poignant moments, and his art captures the essence of quiet emotion. That said, the plot hasnt fully taken shape, so readers may still be wondering where this series is headed.
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FLASH GORDON QUARTERLY #1 gives Flash Gordon fans a fresh twist on a familiar theme by recasting Flash in alternate worlds and genres to excite your sense of possibilities. Plus, the main tale, an adventure dedicated to King Vultan, is excellent. This issue isn't a classic Flash Gordon comic, but readers in the mood for something different will love it.
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G.I. JOE #2 is a distinct improvement over issue #1. Joshua Williamson's script delivers a rollercoaster of action, high-intensity drama, and intrigue. Further, Tom Reilly's artwork is solid. G.I. Joe fans who want a story that emphasizes plot over military authenticity may want to check this one out.
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G.I. JOE: A REAL AMERICAN HERO #301 is a welcome return to form for Larry Hama and the Joes with an explosive finale that sets up a new era for the American heroes and their enemies. The action, both in writing and art, is fierce, but it helps if you have some background knowledge of the characters before diving in.
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G.I. JOE: A REAL AMERICAN HERO #306 delivers military-style action, surprises, twists, turns, more twists, and more turns for an issue that confirms the last person on Earth you should trust is Serpentor. The guest artist team does a banger of a job living up to Chris Mooneyham's work, and Hama's script has enough plot developments (perhaps too much) to keep you guessing for weeks about what comes next.
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G.I. JOE: A REAL AMERICAN HERO #308 begins Serpentor's long-planned attack against Springfield with action, espionage, twists, and surprises. Larry Hama's script expertly moves a myriad of teams into position for the big payoff, and the art team's output is solid.
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G.I. JOE: A REAL AMERICAN HERO #310 is a Joe fan's dream with plenty of hardened military action, battle tactics, and war strategy. Larry Hama keeps a multitude of threads moving forward with surprises and purpose, and the art team's delivery looks great. That said, a few scenes are hindered by rough, unnecessary exposition.
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GARGOYLES #2 is a solid issue in the series that brings back familiar villains and raises the stakes. That said, Weisman tries to do a little too much, leaving you with a rushed feeling, and the art quality dips here compared to the previous issue.
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GARGOYLES #4 begins a new arc with a simpler, more reader-friendly story, solid action, improved art, and a conflict that could spell trouble for the entire city. This issue is a step up in quality on every level compared to the previous issues.
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GARGOYLES: DARK AGES #1 travels back in time to learn how the Gargoyles involvement with a human war led to tragedy. Weismans talent for world- and character-building is on full display, and the art is generally good, but the humans look too similar to tell them apart.
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GEIGER #3 continues Geiger's journey to find a cure, but his trip gets sidetracked by an emotionally poignant side quest that teaches Nate a powerful lesson. Gary Frank's art is untouchable, and the emotional weight of Geoff Johns's script is an unexpected treat, but the plot's pace needs more pep.
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GHOST MACHINE (ONE-SHOT) gives readers a teasing taste of things to come from snippets of forthcoming titles primarily written by Geoff Johns and Peter J. Tomasi. The samples run the gamut from science fiction to horror and amusing hint from this one-shot.
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GRIMM FAIRY TALES #45, sets up a new Guardian with great art, efficient backstory execution, and a simple conflict that sets up nastier potential down the road. This is a great start to Skye's new role in the Grimm universe.
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GRIMM FAIRY TALES (VOL. 2) #50 cherry-picks the greatest battles of the Dark Book arc to save Shang and settle their fight with the Librarian for good. The art is better than good considering the number of artists involved, and the current arc ends on a satisfying note.
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GRIMM FAIRY TALES #61 is a refreshing change of pace as the plot takes leaps and bounds forward towards the final conflict against the Dark Princess. The pacing, action, and dialog are all full of pep. However, the inks look rushed and rough, even if they are saved by outstanding coloring.
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GRIMM FAIRY TALES (VOL. 2) #63 breathes new life into the series by moving on from the Dark Princess and adding fresh faces to the team. The dialog, plot, and pacing are all rock solid, plus the premise explores new areas of horror Skyes never faced before. That said, the colors and lettering are great, but the inks are sub-par, marring the reading experience.
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GRIMM FAIRY TALES (VOL. 2) #64 is an above-average mashup between the Grimm Fairy Tales universe and one of Lovecrafts most memorable stories. Franchinis script captures the mood and atmosphere of Innsmouth while creating an original story that fits within Skyes arc. However, the art is rough and unpolished.
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GRIMM FAIRY TALES (VOL. 2) #71 begins to bring the Lovecraftian nightmare into focus with a Dark One-centric issue that lays out his origin and his place in the coming Apocalypse at the hands of the Old Ones. Despite a few pacing rough spots, the plot, dialog, and reveals are solid.
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GRIMM FAIRY TALES (VOL. 2) #73 is packed with action, brings clarity to the arc, and builds a satisfying amount of momentum as the arc races toward the finale. With much-improved art and a tighter focus, this series feels like its back on track.
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GRIMM FAIRY TALES (VOL. 2) #74 brings more Lovecraft horror into the epic fight, with twists, turns, and death to follow. Dave Franchinis story is well-paced and packed with action, and Babisu Kourtiss art is exceptionally sharp.
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GRIMM FAIRY TALES (VOL. 2) #76 finds the Shang Gang getting back to normal, but the enemies fighting to bring back Cthulhu have hatched a new plan. Franchinis story has a strong central mystery, and the art is a noticeable improvement over the last year.
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Despite its flaws, GRIMM FAIRY TALES (VOL. 2) #82 ffers plenty of thrills and intrigue for fans of the series. The tie-ins to the broader Zenescope universe add depth, but the uncomfortable themes may leave some readers feeling uneasy.
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GRIMM SPOTLIGHT: ZODIAC is a fantastic primer to get readers reacquainted with Zodiac. Honestly, Zenescope sometimes goes too far with only telling female-centric stories, so its not to see a little diversity in their lineup. The action is unique and exciting, Zodiacs past and present conflicts are filled with emotional drama, and the resolution feels like a step forward in the main characters personal journey. However, the story is too big for the allotted pages, and the necessary shortcuts make the story as a whole feel rushed in a few key spots.
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GRIMM TALES OF TERROR: H.H. HOLMES, available from Zenescope Entertainment on April 7th, 2021, is a worthy successor to the EC Horror comics of yesteryear with a modern edge. The art is bloody good, and the story has plenty of twists and turns to keep readers on their toes.
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GRIMM UNIVERSE PRESENTS QUARTERLY: ZODIAC VS. DEATH FORCE remarkably fills 70+ pages with an epic adventure that fills in two origin stories and a battle for a young girl spanning two realms and multiple villains. The writing is brisk and entertaining, but the art lacks consistency in quality by passing through too many teams.
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GRIMM UNIVERSE PRESENTS QUARTERLY CINDERELLA: FAIRY WORLD MASSACRE takes the titular character through a murderous tour of Fairy World during her quest to find her raccoon. The surreal groups of characters Cinderella meets are lethal, the settings are gorgeous, and Cinderella has her oblivious hands full with a quest that opens the door for more trouble on the horizon.
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HEAT SEEKER: COMBUSTION #1 is a fast-paced, thrilling start to Charles Ardai's latest adventure for the world's greatest mistress of misdirection. Ardai's script sprints out of the gate from page one with a spycraft mission with deadly stakes, and the art team's output is solid.
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HEAT SEEKER: COMBUSTION #2 turns up the action when Dahlia chases Evie across Europe to recover Rosaline. Charles Ardai's script starts at a sprint and doesn't let up, and the art team's action choreography is first-rate.
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GUNBREED #1 delivers four tales of Old West horror when a righteous sheriff comes back from the dead to protect his town from the monstrous evils born of a curse. Each short is well done and sets up the possibility for more stories in the future, and the art is mixed but generally good.
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GUNSLINGER SPAWN #21 sets up a climactic battle between demons from Hell and dinosaurs(?), and it looks even cooler than it sounds. That said, this issue feels like a breather to build the relationship between Dakota, Taylor, and the Cowboy, which is a good jumping-on point for new readers but a momentum killer for existing readers.
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GUNSLINGER SPAWN #27 is a gorgeously drawn, mysterious introduction to the latest addition to GunSlinger Spawns cast of characters. McFarlane puts in extra effort to develop Carls backstory, and Dexter Soys art is mesmerizing. That said, Carls flashback takes up the entire issue without answering where he came from or what he wants.
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GUNSLINGER SPAWN #28 has great visuals, cool action, and interesting concepts to elevate this issue, but the thin plot and lack of depth hold it back. Still, a fun read for Spawn fans and art enthusiasts.
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GUNSLINGER SPAWN #32 starts slow by realigning Javi's status quo with Linda, but once Javi finds his target, the issue picks up speed until it ends on a banger of a cliffhanger that could set a new path for GunSlinger Spawn. Barberi's art is gorgeous, and McFarlane's script builds up to a satisfying conclusion, even if it takes a meandering path to get there.
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THE HARBINGER #7 is a significantly improved entry in the series. The stakes are high. The characters are (finally) expressing some emotion. And the ending has momentum going into the arc finale next issue. That said, the art has some stumbling points that are correctable if the series continues after the arc finale.
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HAUNTED HOUSE: A LOVE STORY #4 emerges as one of the stronger issues in the series, leaning heavily into horror. However, the limited exploration of the young couples relationship detracts from the emotional depth seen in previous issues. Its a bit of a mixed bag, with the horror aspect excelling while emotional nuances take a back seat.
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HOLLYWOOD TRASH #4, takes the weirdest and wackiest of soap opera tropes, sprinkles on a dash of sci fi/magic (maybe?), but plays it completely straight. Admittedly, this type of comic may not be everyone's cup of tea, but I got a good chuckle out of reading it.
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In HOLLYWOOD TRASH #5, available from Mad Cave Studios on February 17th, 2021, takes all the wild trashiness of your favorite telenovela and makes it twice as wild. The characters are outlandish, the art is great, the story is mind-blowingly weird, and it's worth reading for a crazy fun time.
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HONOR AND CURSE #9, available from Mad Cave Studios on March 10th, 2021, amps up the action and death to reveal copious amounts of motivation for all the players involved in the story. The art is excellent, and the personal stakes just went a few notches higher.
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HOUR OF THE WOLF #1 is an entertaining, episodic spinoff of Mad Cave's Wolvenheart series, focusing on an agent sent to help a family face a supernatural threat. Mark London's script is tight and effective, and Danilo Beyrouth's art style presents the right mix of horror and supernatural steampunk.
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HUMBABA #1 is an engaging horror story with a dash of personality and wit. The pacing keeps the reader hooked, delivering action and entertainment. Despite some minor shortcomings in both writing and art, they dont overshadow the overall positive reading experience. The unexpected cliffhanger adds an extra layer of intrigue, making us eager to see where this series will lead.
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HUMBABA #3 cranks the gonzo insanity up five more notches as cybernetic Gil encounters malignant mutants and menacing swamp monsters on his hunter to stop a killer. The pacing, action, character designs, and art are on point. But for an out-of-place action sequence toward the other, this would be a killer issue.
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HYDE STREET #1 pulls readers into a supernatural world where no past misdeed goes unpunished. Geoff Johns's take on Twilight Zone-esque storytelling is immediately interesting, and the art team's delivery is top-shelf. That said, this first issue is all setup without a compelling hook to demand your return.
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IMMORTAL RED SONJA #3 is an action-packed issue with amusing banter, movement on the plot, and interesting life lessons about the benefits of curses. However, the artist handoff at the halfway point is jarringly obvious to the point of feeling like youre reading two different comics.
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IMMORTAL RED SONJA #7 is a fun, fast-paced, energetic issue with plenty of movement on the plot and big reveals. However, the biggest reveal is somewhat predictable, and the art is just above-average.
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IMPOSSIBLE JONES #3 leverages plenty of classic Silver Age storytelling and art to recount how Impossible Jones became a hero to the public. The plotting, pacing, and creative use of superpowers are entertaining, but the dialog is over-the-top corny.
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IMPOSSIBLE JONES #4 completes the arc reasonably well, however, the numerous dangling threads hold the finale back from being truly satisfying. That said, the art is truly great and fulfills that nostalgic itch for classic superhero battles from the Silver Age of comics.
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ISOM #1 is an above-average, solid superhero story with fantastic art. The plotting is good, the pacing is excellent, and the dialog is rock solid. However, the story is weak in a few key areas, making the very steep price tag a very tough sell.
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ISOM #2 answers questions, builds worlds, and expands everything you need to know about ISOM before he wages war on the criminals who rule the city and the monsters who rule Hell itself. On practically every level, the writing is significantly better than #1, and the art is top-tier quality.
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JAMES BOND: 007 #2 offers a rollercoaster of action, accompanied by stellar artwork. However, the plot takes a backseat, making it a slightly thin read in terms of narrative development. The cliffhanger involving Bonds journey to the International Space Station adds an intriguing twist, leaving readers eager for the next installment.
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JAMES BOND: 007 #5 continues James Bond's mission to retake a deadly WMD from the Russians before all hell breaks loose. Garth Ennis's script is action-packed and full of deadly situations for the world's greatest spy. Plus, Rapha Lobosco's art is super-solid.
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JAMES BOND: AGENT OF SPECTRE #2, available from Dynamite Comics on April 7th, 2021, continues great storytelling that feels authentic to James Bond canon, bolstered by gritty, hard-boiled art. This is one of the better James Bond offerings Dynamite has had in quite some time.
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JAMES BOND: HIMEROS #2 is tense, action-packed storytelling. Bond is put to the test with assassins all over the world converging on his witness, and the seeds of doubt about his charges intentions escalate the paranoia factor even higher. That said, the art is definitely rough around the edges and mutes the reading enjoyment of the issue.
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JAMES BOND: HIMEROS #3 is a strong entry in the series with clarity about what Sarah Richmond knows, bigger examples of just how dangerous their pursuing assassin really is, and a new direction for the plot that could be the end of 007 or the end for many of the worlds rich and powerful. The action, the reveals, and the overall pacing are very good, but the shift to a new artist brings the art quality down a few notches.
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JENNIFER BLOOD: BATTLE DIARY #4 delivers a gripping narrative with intense action and escalating tension. While the lack of clear motivation for the main character remains a puzzle, the story maintains momentum and direction. The twists and turns keep the reader engaged, and the character dynamics add depth to the narrative. Despite the lingering questions about Jennifers purpose, the overall experience is satisfying.
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JOHN TIFFANY (VOL. 1) delivers gritty, grimy, pulpy crime thrills in a story about a bounty hunter who becomes the hunted. There are too many twists and turns to count, and the graphic novel is packed with adult drama, but the even pacing might be too low for some readers.
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JUDGE DREDD FALSE WITNESS #1 takes a current year issue and brings into the 22nd century without being too heavy-handed.
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JUGGERNAUT #3 is an entertaining entry in a, so far, surprisingly good series. The art matches the characters and situations perfectly, and the story is far from predictable in the best possible way. I highly recommend this book.
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KING CONAN #1 is a stark, gritty and powerful take on the worlds greatest Cimmerian in the twilight of his years. The art is outstanding, the story setup is a pleasant mix of straight action and potential mystery, and the new threat revealed at the end of the issue makes for a powerful cliffhanger. That said, the repetitive narration in the early pages hurts the pacing, but the story smooths out in the latter half of the book.
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KING KONG: THE GREAT WAR #1 begins a new excursion to Skull Island with a new set of outsiders who find themselves shipwrecked during the height of the Great War. The monster designs, especially Kong, look great, and Cox nails the atmosphere of disorientation and desperation. However, this issue feels like more of what we've seen before, so it's up to issue #2 to hook readers.
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KING SPAWN #26 breaks down doors and breaks bones to find the one person who can get him into Hell to stop Sinn. The issue is all about action and cool visuals, so if you want to see Spawn do what he does best, youre in for a treat. That said, readers of the main Spawn title may get confused by the mismatch in timelines.
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KING SPAWN #27 pulls back on the plot progression and gives readers a walking tour of Al Simmonss life to remind readers exactly why and how he became Spawn. The tour of Als life makes for an interesting jumping-on point for new and casual readers, but loyal fans may not get much from this issue.
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KING SPAWN #29 borrows from classic literature and famous poetry to bring wear Spawn down on his lonely trudge through Hell. McFarlane uses classical themes to put the anti-hero on a spirit-crushing heros journey, and Fernandezs stellar art brings every beast and hellish obstacle to life.
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KING SPAWN #40 is a tragic tale about a peaceful demon whose life is destroyed by the outcome of the Heaven/Hell War. Rory McConville's revenge quest is an interesting look at the fallout from the Heaven/Hell War from a unique perspective, and Yildiray inar's art is on point.
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KOSHER MAFIA #3 turns Howard and Ephraim's stealthy partnership into a race for survival. David Hazan's script successfully incorporates an unusual mix of classic gangster noir with Jewish culture, and Sami Kivel's art delivers the action goods.
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LADY HEL #3 takes readers on a trip down Greek Mythology lane as the titular character follows Orpheuss legendary journey to the Underworld. The character designs are excellent, and the action is well done, but the color isnt integrated as well as it should be with the inks.
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MAN GOAT & THE BUNNYMAN: GREEN EGGS & BLAM! #3 is a solid albeit imperfect ending to the arc with an expansion on the Bunnyman lore, oodles of action, and a feel-good ending that leaves the door open for more adventures. However, the dialog is very stiff, dampening the reading experience.
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MARVELS SNAPSHOTS AVENGERS #1 works as a light-hearted romantic comedy in the unlikeliest of settings. The story is chock full of witty banter and the art is fairly solid. This is a recommended buy.
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MIGHTY MORPHIN POWER RANGERS #111 ramps up the action, the chaos, and the consequences when the Rangers are divided, and Mistress Vile uses the opportunity to her advantage. Theres Morphin action aplenty, and plenty of drama, especially between Billy and Matt, but casual readers may have trouble keeping all the teams and individual Rangers straight.
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MIGHTY MORPHIN POWER RANGERS #114 settles down the chaos of battle as Billy and a mysterious stranger hatch a plan to find the only power strong enough to save the Morphin Grid. Floress script is cleaner and more focused than recent issues, and the art is solid.
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MIGHTY MORPHIN POWER RANGERS #115 cranks up the desperation and the hopelessness when the surviving Rangers concoct a plan to free Safehaven. Floress script smothers the Rangers with the sinking feeling that all hope is lost, and Di Gianfelices art is excellent. This issue lives up to the Darkest Hour title.
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MIRACLE KINGDOM #2 is a quaint, cheery, imaginative mystery about an angel on a mission to uncover the truth behind a mysterious faith healer. The Heavenly shenanigans are charming, and the mystery is intriguing. Combined with clean, feel-good art, this issue is a winner.
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MUNDUS TENEBRAS #1 uses a failed exorcism to challenge a priests belief beyond the limits of mortal experience. Staniscis central premise and cast of characters are intriguing, and Nietos stylized, creepy art suits the material to a tee.
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MUNDUS TENEBRAS #3 brings the soul-crushing horror tale to a close when Father Davids crisis of faith reaches an ugly conclusion. Stanisci successfully creates a scenario that feels truly hopeless for a man who only wants to do good, and Nietos surreal art amplifies Father Davids shock.
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MYSTERIUM #1 brings the board game to life with a murder mystery that only mediums with links to the spirit world can solve. The art is detailed and sharp, and the gameplay aspects of the story are the strongest part of the issue.
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MYSTERIUM #2 is a charming, entertaining continuation of the board game coming to life. The players present have whimsical personalities, and the head-scratching clues are the stuff that makes puzzle lovers happy.
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MYTHS & LEGENDS QUARTERLY: BLOOD OF THE GODS gives readers their moneys worth with fights, monsters, backstory, character development, big and small consequences, remembrances of the past, and setup for the future. Theres almost too much story for the page count, but the story is executed with efficiency and grace. However, too many art cooks spoil the kitchen as multiple artists with radically different styles frequently take you out of the comic.
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MYTHS & LEGENDS QUARTERLY: THE BLACK KNIGHT FATE OF LEGENDS sends readers on an action-packed adventure with brisk pacing, tons of action, good dialog/narration, and a satisfying conclusion. The adventure elevates Black Knight with a cool upgrade, and the ending plants seeds for more trouble on the horizon.
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MYTHS & LEGENDS QUARTERLY: WONDERLAND is a dense but interesting tale about the tragedy of Queen Evelyn and her quest to rid Wonderland of madness. The amount of story you get may seem overwhelming, but the masterful pacing keeps the pages flying. However, the small squad of artists used had significantly different styles, and the handoff from one artist to the next was jarring.
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MYTHS & LEGENDS QUARTERLY: DAGON brings much-needed focus and clarity to Zenescope's year of Lovecraft by unveiling Dagon's plan to free Cthulu. The story delivers plenty of plot development and monster-fighting action to keep you engaged for what's to come, but the character-heavy arc gets a little heavier, and the art suffers slightly from too many cooks in the kitchen.
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NEGADUCK #1 brings the formidable Darkwing Duck villain to the forefront when the master criminals escape from prison leads to a not-so-smooth life in St. Canard. Jeff Parkers plot is amusing, and the art is pitch-perfect.
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NIGHT OF THE CADILLACS #1 is an intriguing mix of gang culture, vampires, magic, portal hopping, and action. The story leaves the reader with more questions than answers about whats happening, but the narrative is never muddled or confusing. The art is better in some panels than others, but the visuals are bold and thoroughly engaging. I dont know where this story is going, and Im curious to find find out.
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NINJA KAIDAN #5 ends the series with a satisfying albeit sedate ending. The pacing, dialog, and final conclusion hit their marks, and the art is top-notch. However, the setup for the ending lacks dramatic punch, resulting in an anti-climactic finale.
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NORTHERN BLOOD #1 nails the tried and true setup for an undead wake up after soldiers disturb their cursed tomb story. The action, pacing, and dialog are spot-on, and the visuals are great, but it remains to be seen if the following issues can do something original.
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NORTHERN BLOOD #4 brings the chaos and the crazy for an all-out race to the finish line. J. Michalski calls forth every monster possible to fight in a titanic battle for the ages. Sure, you could nitpick the flaws all day long, but in the end, this issue is all about making sure you're entertained, and it succeeds.
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NYX #9 is a more serious and dramatic issue for the series that contains a genuine heart for the siblings and strong emotion from Nyx. The issue sets up all the players for the big finale next month with plenty of emotional motivation, but the generally-sound art lacks energy.
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ONE GIANT LEAP #1 is a solid first step in building a world with ordinary teenagers taking extraordinary risks for popularity and fame. The character development of the main character, Alex, is very good. The character designs are distinctive, and the plot builds strong curiosity for whatever comes next.
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ORISION #1 is a gory, pulse-pounding, well-paced, and efficient story about a research team digging in the wrong place. Its a classical monster story setup, and everything about it works from the monster designs to the frantic energy of the chase scenes. The art is generally good, but special credit goes to the colorist for elevating the pencils/inks.
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OVER THE ROPES: BROKEN KAYFABE #2 is a bang-up (literally) entry in the arc with strong character development for Scorch, decent art, and more melodrama than an Alabama trailer park on the Fourth of July during a tornado.
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OVER THE ROPES: BROKEN KAYFABE #4 is a rock-solid penultimate issue that clears away the emotional baggage, builds excitement, and gets readers focused on the climactic finale. The human character interactions are the star attraction in this issue, but the art is average.
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OZ: FALL OF THE EMERALD CITY #2 is a fast-paced, action-packed entry in a story about an all-powerful goddess with hidden intentions. Wohl's character work, pacing, and plot hit the mark, and the art is above average.
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OZ: RETURN OF THE WICKED WITCH #1 is a slow but steady introduction to life in Oz after the defeat of Ozmo. The world- and character-building aspects are excellent, and the art is pristine, but some readers may find the pace lacks energy.
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PANTHA #5 is an action-packed, exciting, dramatic finale that stops way too short. The plotting, pacing, and dialog are all excellent, and the art is gorgeous, but you get the distinct feeling an issue is missing because the story doesnt conclude. It just ends without resolving the conflict, leaving you shockingly unsatisfied.
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PATHFINDER: WAKE THE DEAD #2 delivers fast-paced RPG-styled action, plenty of lore to reference the source material, and excellent world- and character-building. That said, the lore references may be overwhelming for new readers, so be prepared to take a few notes.
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PHOENIX FILES #2 delivers a fun, action-packed middle issue in this 3-parter about a witchs attempt to end the world through the heir of Dagon. The action is well-paced, the story has plenty of twists and turns to keep readers on their toes, and the cliffhanger is solid.
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POSSESSIVE #3 is an amusing, albeit predictable, end to an entertaining mini-series about the dangers of taking a break in romantic relationships. The art, especially the emotional facial expressions, is consistently good throughout, and the story ends on a positive note with room for future horrors.
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POTIONS INC. #1 is an above-average start to a magical adventure about a trio of siblings searching for a stolen artifact. The main character is relatable, and the art is a good match for the story. However, a few shortcuts were taken when the comic already has a high scene count, so the issue feels rushed in spots.
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POTIONS INC. #5 is a well-constructed, relatively satisfying conclusion to the arc. The pacing, plotting, and dialog are on point, and the art is good. This series is an excellent choice if youre in the mood for a safe, family-friendly, magical adventure.
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PROJECT RIESE #1 begins an intriguing tale of a group of treasure hunters on the trail of lost Nazi gold hidden in a mysterious network of tunnels. The historical backdrop, location, and circumstances give the horror story a creepy air of credibility, and the art is decent enough.
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PROJECT SUPERPOWERS: FRACTURED STATES #5 is a rousing, hopeful, complete finale for a surprisingly good arc. The main characters true identity is a creative surprise, and the art is top-notch. However, the final battle is more exposition than action, making this last issue feel more like a setup for an adventure yet to come rather than a fully-satisfying finale.
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PROMETHEE 13:13 #2 is a solid entry in the series that shifts the tone from frantic paranoia to uncertain dangers. The pacing, dialog, and art are all on-point, and the cliffhanger will keep you guessing about the future.
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PURGATORI (VOL. 2) #4 continues to elevate the main character as an incredibly deadly force who cant stop being charming long enough for readers to dislike her. The creators pull back the curtain on Purgatoris history and make some appreciable progress on the overall plot, but the covens plan is start to get confusing. The art is great, buoyed by phenomenal textures and shading through the coloring.
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RABID WORLD #4 brings the mini-series to a close with survivors aboard The Jibberish making a last dash for help, survivors in Ft. Levine making a last stand, and the creators taking their last run at wrapping up all the threads with a tidy, little bow. The story is well-written and ends the current conflicts neatly, but the conclusion lacks dramatic punch. The art is visually interesting with great linework and effective color usage. In all, this is one of the better zombie series around.
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RAMGD #1 begins a cyberpunk tale about a cop on the trail of bank robbers who may have a connection to the world's most popular sporting event. The Rosenblums put in overtime to think through every facet of the world and characters to present an environment that feels authentic, while Canaan White's miraculously detailed art is the highest of quality. That said, the plot suffers from pacing problems in the middle of the comic.
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RED SONJA (VOL. 6) #5 switches directions (again) to set Red Sonja and Sitha out on a journey to the other side of the world. The arc may seem like its wandering, but all the elements in the issue organically fit together and make sense in context. Despite a shockingly large array of artists assigned to a single issue, the art is consistent and visually appealing, due mostly to outstanding coloring.
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RED SONJA (VOL. 6) #6 is a solid entry in the series that focuses on building and maturing the character in emotional and motivating ways. The writing is spot-on for introducing new characters almost immediately with much fanfare or backstory. And once the action gets going, you cant help wanting the kids to succeed. That said, the art lacks polish and feels a little rushed.
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RED SONJA (VOL. 7) #7 begins a new arc and a new set of challenges when the beasts and gods of limbo now walk the Earth. Torunn Grnbekks pivot toward exploring beasts of myth and legend has potential, and Walter Geovanis art looks excellent.
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RED SONJA: BLACK, WHITE, RED #2 continues the trend of diverse stories and art styles to give readers an anthology that has a little something for everyone. While some stories are stronger than others in terms of both writing and story, the end result is an improvement over the first issue.
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RED SONJA: BLACK, WHITE, RED #6 is a better-than-solid entry in the series with stories filled with action, adventure, and an occasional chuckle. Some of the shorts are stronger than others, but they all accomplish what they set out to do without a lemon in the bunch. If youre a fan of this series so far, youll be happy with this latest issue.
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RED SONJA: EMPIRE OF THE DAMNED #1 s a solid start to a new Red Sonja adventure. While it may not offer any surprises for longtime fans, it provides an intriguing introduction for newcomers.
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RED SONJA: EMPIRE OF THE DAMNED #5 ends the one-and-done story with dramatic tension, swords, sorcery, and a reasonably satisfying conclusion. Steve Niels's tale is a worthwhile addition to the Red Sonja canon, and the art team's contribution is solid.
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REDCOAT #2 teams up Simon Pure with young Einstein for a traveling adventure to stop a fiery apocalypse from consuming America. Johns successfully transitions Pure from a thoughtless bum to a potential hero, and Hitch's art is excellent.
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RESURGENCE #1 was promised to be the mother of all crossovers for Valiant. On the whole, the publisher delivered. The creative teams do their best to give every hero a moment to shine as they face an Earth-shaking threat, and the art looks great. That said, the issue feels overstuffed at times, and some of the conversations/scenes don't make sense if you don't already know the current status of every character.
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RESURGENCE #4 brings all the heroes and villains across the Valiant Universe (literally) together in the Faraway in anticipation of next month's finale. Fred Van Lente's script amps up the serious tone and urgency to get the momentum train rolling, and the unusually large art team's set of visuals looks better than any other Valiant title in circulation.
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RIPTIDE: DRAKEN (VOL. 2), available from Red 5 Comics on March 31st, 2021, combines the fun of cryptid hunting with a 90s style creature feature for an entertaining trade. The art is solid, the characters are believable, and this collection is an all-around fun popcorn story.
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RISE OF DRACULA #1 shifts away from the tragic sadness of the previous series into a new era that feels like a military invasion of apocalyptic proportions. The violence is shockingly gory, the scope is epic in scale, and the new threats are more formidable in every way. Kudos also go to the art team for stepping up the quality of the visuals over the previous series in subtle but noticeable ways.
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ROBOTECH: RICK HUNTER #1 delivers mountains of military heroics, high-flying dogfights, and an escalating threat to Earths newfound peace. However, much of the issue is a recap, which is great for new readers to jump on, but not as good for existing fans who already know the score.
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ROBYN HOOD: THE CHILDREN OF DR. MOREAU is a better-than-solid creature-feature adventure starring Znescopes darkness-free archer. The story is basic, but there are enough twists to keep it unpredictable. And the art team delivers with energetic action and imaginative monster designs.
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ROBYN HOOD: NIGHT OF THE HUNTER is a solid cat and mouse story about an old grudge coming to collect on Robyn when she least suspects it. The writing is strong and clear but it lacks dramatic tension. The art is excellent with standout coloring work.
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ROBYN HOOD: DARK SHAMAN is a rock-solid origin story for Ghosthawk, giving readers everything they need to know about the source of the characters power and potential. That said, the issue is almost entirely devoted to Ghosthawk, relegating Robyn Hood to a side character.
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ROBYN HOOD: DAGON gives you plenty of story for your money with exciting action, meaningful developments in the larger Lovecraft saga, a cool, new hero, and tidbits promising more to come. That said, this is a transition issue that may have some confusing bits if readers arent up to speed on the other Grimm titles.
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ROBYN HOOD: BLOOD IN THE WATER takes a break from the grim and gritty adventures of Zenescopes resident archer for a lake monster mystery starring a strangely familiar set of supporting characters. Brushas script will tickle your nostalgia bone with homages to Jaws, Scooby Doo, Crocodile Dundee and more, while Marianis art successfully merges the Zenescope house style with a some cartoonish visitors.
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ROOK: EXODUS #5 is another masterpiece of top-tier art in an issue that slows down the pace and momentum to get inside Rook's head. Geoff Johns makes up for the lack of plot with a strong character piece that forces the titular character to grow and become the hero he needs to be, so the issue may not be what readers expect, but it's still worth the cover price.
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SACRED SIX #12 waps up the 12-issue arc in a neat little bow. The bow is a little crooked and the edges are fraying in spots, but at least its done. The art is generally captivating, even if a few panels look rushed. And the ending is mostly satisfying, as long as you ignore several minor unfinished threads that are inconsequential to the end result.
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SANCTION #5 ends the conspiracy thriller with intense drama, high stakes, and a satisfying albeit morally gray resolution. Fawkes uses the majority of the issue to explain everything to bring the mystery home, and Fuso's art shows you don't need to have crisp, pretty lines to have impactful visuals.
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SANTOS SISTERS #4 is a light amusing take on superhero comics with an Archie Comics style and a CRACKED Magazine mindset. Each short leans into farcical humor and puns on top of a solid plot, and the art is perfect.
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SAVAGE #1, available from Valiant Entertainment on February 17th, 2021, takes the familiar story of a marooned child raised to become the ultimate warrior of a savage land and gives it a satirical twist. With tongue firmly in cheek, the story deftly uses old school pulp to poke fun at modern Internet culture. The art has impressive man-against-dinosaur battles and combined with the interesting writing, you have the makings of a great series.
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SAVAGE RED SONJA #3 puts the typical action on the back burner for the next leg of Red Sonjas journey to give the hero a chance to show off her skills at persuasion and manipulation. Panosians dialog and plot development are on point, but the art suffers from inconsistency.
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SAVAGE TALES (ONE-SHOT) reinvigorates the Savage Tales line with a welcome anthology of shorts featuring recent and long-absent characters for thrilling, horrifying, and thought-provoking adventures around the world. As per most anthologies, the quality of the shorts ranges from clunky to expert in both writing and art, but there should be a little something for everyone, so this is a solidly recommended pick.
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SCARLETT COUTURE: THE MUNICH FILE #2 escalates the intrigue, the action, and the spice for a significantly more entertaining read compared to issue #1. Des Taylor amps up the pacing and plot progression to hold your attention on every page.
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SCARLETT COUTURE: THE MUNICH FILE #4 provides readers with a one-two punch of spy action and shocking reveals to turn this penultimate issue into a rollercoaster of emotion for Scarlett. The wow moments hit hard, and the art is consistently good.
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SCARY CHRISTMAS (VOL. 2) #1 is a fun, original horror anthology. Each story has a Santa-centric premise, pitting the jolly old elf against evil children, vampires, and school bullies. The stories are light on gore or overt shock value, but they each contain an appreciable amount of bite (no pun intended) in their twists and turns.
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SENGOKU YOUKO (VOL. 2) continues the entertaining tale about inhuman siblings with a mission to kill monsters and make the world a better place. Satoshi Mizukamis tale captures the essence of sibling bickering and big Manga action with a simple-but-effective plot plus great art.
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SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #8 is an eventful and action-packed issue with plenty of plot movement and developments. De Souzas pacing, dialog, and plotting are all on-point, and the tone captures the glory of classic pulp adventures. That said, the art is inconsistent with rough spots in linework and coloring.
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SHEENA: QUEEN OF THE JUNGLE FATAL EXAMS #1 kicks off a new adventure when Sheena goes undercover at an elite girls school to investigate attacks on a nearby nature preserve. De Souza and Clark Jr. handily bring new readers up to speed with brilliant character work, two intriguing mysteries, and excellent art by Silva and Spiller. That said, theres a lot going on in a standard-sized comic, so it may feel a little overstuffed.
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SHOWS END: THE SECOND COMING #1 is a whimsically solid return to the Dax Carnival, and its merry band of unique characters. The story is well-paced and kicks off multiple mysteries to build intrigue, and the art amplifies the rough charm of the Carnivals ragtag nature.
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SIRENS GATE #1 is a respectable tale about a young woman who finds herself drawn into the world of the supernatural. The photorealistic art is striking, the lettering choices are eye-catching, and the story has plenty of curiosity-building breadcrumbs to generate anticipation for the next issue.
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SNAPS (ONE-SHOT) takesreaders on a creepy ride when an amateur photographer learns monsters are hiding in plain sight. The central premise and execution will give horror lovers the chills, and the surrealistic art is supereffective, especially for the monster.
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SNOW WHITE: ZOMBIE APOCALYPSE #1 turns a number of classic fairytales on their heads with monster/zombie twists to please alternative story lovers and gorehounds alike. The story leans heavily on the art to tell the story, but you get the gist pretty clearly for most of the issue, and the art is wildly entertaining.
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SONJAVERSAL #2 brings the story's plot into focus with great art and better introductions to the army of characters. The setup makes sense in a multiverse kind of way, and the next issue promises to amp up the action 10x.
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SONJAVERSAL #7 continues to the series focus of unique, episodic stories about different Sonjas from across the multiverse with a tale about Yellow Sonja the vampire hunter. Qualano & teams art is top-notch and the mystery will keep you guessing until the end, but the hard shift to a prologue for the next issue cuts the main story too short at the end.
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SPAWN #358 delivers plenty of action and drama to keep the series going with a solid issue that hints at things in the works. On the whole, Spawn fans will enjoy the issue, but McConville and Company are taking a lot of time dropping crumbs, hints, and teases instead of stories with big ideas and substance. This issue is fine but not important.
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THE BONE TRIBE serves up an ironic tale about violent bank robbers who receive their ultimate reward for a life of greed and murder. Latchs tale of horror is an entertaining one-shot, and Susinis art delivers Old West gore where it counts.
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STARFINDER: ANGELS OF THE DRIFT #4 confidently blends the excitement of an action-packed comic with the flow of a rousing TTRPG session. Sutter brings the game to life in a massive sci-fi epic, and Menna deserves bonus points for the sheer volume of figure work and action on the pages.
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STEALTH #6 takes a quantum leap into a scifi subgenre to open up a whole world of future stories with the main character. The plot is inventive, and the art adds depth and dimension to the finale's twist. This is a solid finale from the whole team.
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SUICIDE JOCKEYS #4 uses a classic Hollywood trick to turn out a nail biter of an issue with the future of the timeline and the world at stake. Shifting focus away from a wholly unlikable main character was a smart play, and it keeps all attention on the quickly escalating events. The art is generally good but some coloring oddities interfere with a character heavy issue.
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TALES FROM NOTTINGHAM #5 subverts expectations for the main Nottingham series by telling a traditional tale about the first meeting between Robin Hood and Little John. The art is great, and the story is well-crafted, but Nottingham fans used to reading the classic tale with a twist will get all classic with no twist.
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TALES FROM THE CAVE (ONE-SHOT) serves as an excellent anthology of Mad Caves best titles and a testing ground for up-and-coming creators worth watching. All the shorts have positive points, but Hazans Nottingham short is the best of the bunch.
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TALES FROM THE DEAD ASTRONAUT #2 picks up immediately from issue #1 by continuing all three tales of science fiction-based hope, regret, determination, and sorrow. The art is as soulful as the writing, and the stories are some of the most unique youll find in comic form. That said, the stories do not stand on their own or pick up cleanly, so make sure to go back and read issue #1 first or wait for the trade.
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TECHNOFREAK #2 amps up the tongue-in-cheek humor in a story that unveils a little background on the Technofreak program and the consequences of its earliest subject. The humor mostly lands, but there are a few eye-rolling moments, and the art is significantly improved on all fronts.
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THAT TEXAS BLOOD #5 drives a man into a downward spiral of inner conflict and murder. The story is dramatic, and the art is brimming with mood. Another excellent entry in this series.
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THAT TEXAS BLOOD is a great comic that holds up as one of the best examples of crime noir in years. This series takes a hard look at the toll of carrying the past with you and the dangers of letting the past decide your future.
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THE AGENT #5 brings the magical crime thriller to a close with twists, big stakes, urgent action, and a satisfying conclusion. The finale feels slightly rushed to tie up the major threads, but the grounded art and big ideas are strong enough to overcome any minor flaws.
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THE COURIER: LIBERTY AND DEATH #2, successfully mixes apocalyptic and dystopian stories to give readers a unique twist on a familiar trope. The art is solid and not afraid to get gory. And the story keeps a steady, tense pace from start to finish.
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THE CURSE OF CLEAVER COUNTY (DOUBLE-FEATURE) delivers urban legend scares and the introduction of two killers for the price of one. Both shorts bring two killers to life with intriguing origins and excellent art. Some readers may be dissatisfied with the lack of endings in each short, but the killers are interesting enough to want more.
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THE CURSE OF CLEAVER COUNTY #1 starts off with a bang and builds on the shock value with an impressive amount of character- and world-building. The characters voices are unique, and Walliss art is a treat, but issues would have benefited from paring down the number of character introductions.
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THE ELECTRIC BLACK: THE DARK CARAVAN #1 is a macabre, surreal foray into the travels of misfits and outcasts encountering evil men and meting out dark justice. The story within a story within a story concept is novel albeit a little confusing to grasp in the transitions. The art works well for the material, although the multiple artists make the transitions between story threads more jarring than they already are. Its an interesting story and concept thats worth picking up.
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THE HEXILES #1 is a brisk, efficiently constructed, and gory supernatural start to a story about estranged siblings hunted by supernatural forces. Cullen Bunn's debut issue is well-paced and well-constructed, and Joe Bocardo's art style is an effective mix of detailed settings and grimy horror.
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THE INVINCIBLE RED SONJA #2 improves on issue #1 with more focused storytelling and some personality. The art is passable, and the ending sets up the main mystery that could lead to a genuinely intriguing whodunit.
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THE MONSTER'S CLEANUP GUY #1 offers up an original horror story about the poor soul responsible for keeping tribes of monsters and their human prey out of the public eye. The concept feels wholly original, and a twist reveal bumps up the creativity several notches with a strong cliffhanger.
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THE MOON MAID: THREE KEYS #2 deeply explores the complexity of mistrust and bridge-building between two races with a complicated history. The art is excellent, and the volumes of conversations are well written, but the story lingered too long on racial understanding when an inevitable threat is coming.
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THE NINJETTES #5 ends the series with plenty of emotion, bloodshed, and status quo changes. That said, the final issue moves Steph and her new partners from point A to point B very quickly without leaving room to give a satisfying explanation as to how she wound up in this mess.
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THE SAVAGE SWORD OF CONAN #1 is a must-have. Even if youre not deeply familiar with the world of Robert E. Howard, the quality storytelling and diverse content in this issue make it worth checking out.
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SCORCHED #19 works exceedingly well as a setup issue to move Spawn and Scorched into position while Senator Terminus makes his new soldiers ready for Earths judgment. The emotional drama and tension are sky-high, and the art is excellent.
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THE SCORCHED #29 delivers plenty of gritty, explosive action, a couple of surprise twists, and gobs of potential for what comes next. Layman, McFarlane, and Segovia are making the most of the fallout from the Heaven/Hell war.
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THE SCORCHED #33 recounts the origin of another older Haunt who has returned from the dead with a grudge to settle. Layman and McFarlane's script lays out this new Haunt's origin story with a rock-solid setup, and the uncharacteristically gory art looks great.
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THE TIGERS TONGUE #1 is a surprisingly complex fable about twin sisters confronted with a massive challenge on the most important day of their life. The sisters are neither good nor evil, but they have polar opposite strengths and weaknesses to each other such that they could be perfect partners or bitter enemies, making for an intriguing drama to come. The serviceable art gets the job done, however, theres not much visual excitement when the lettering is the most appealing aspect of the art.
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THE TIGERS TONGUE #3 is a richly compelling issue, filled with layers of complexity and conflict. The sisters evolve as pressures mount from within and without, and the simmering socio-political strife casts a pall of tension on every scene. The art, however, lacks detail and refinement.
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THE TIGERS TONGUE #4 is a hard-hitting episode that cements the new status quo of both sisters and sets the foundation for a potentially epic finale. The character work is outstanding, and the outcome of the final trial is brutal, but the art doesnt live up to the story.
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THE TIGERS TONGUE #5 ends the series with big battles and emotional gut punches for a satisfying conclusion. Stephenss fable about two princesses is better than the sum of its parts because a human story lies at the heart of the magic and spectacle, and you get plenty of heart in this finale.
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THE VISITOR #5 is chock full of sci-fi action, revelations, conspiracies, and a solid cliffhanger. The above-average art is bolstered by clear, concise storytelling, so this is a recommended read.
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THE WINCHESTER MYSTERY HOUSE #2 is a subtle and chilling issue that reminds you why were sometimes afraid of little noises in the dark. When workers of the famed Winchester Mystery House find themselves in the wrong part of the house at the wrong time, tragedy is waiting for them. This is the kind of historical fiction that causes you to wonder whats real and whats hidden in the shadows.
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THEY FELL FROM THE SKY #1, available from Mad Cave Studios on February 3, 2021, plucks at your nostalgia heartstrings with a family-friendly story. You'll find every trope you can imagine and more, but the strong writing keeps the story current, and the art strikes a perfect tone to make this first issue greater than the sum of its parts. I recommend you give this new series a try from a promising creative team.
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THEY FELL FROM THE SKY #2, available from Mad Cave Studios on March 17th, 2021, takes the “nerdy kids plus lovable, stranded alien” story to the next logical step. The story is headed in the right direction, and there's enough uniqueness about this story, coupled with the preview of the next issue's cover, that promises an exciting adventure to come.
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THUNDERCATS #2 delivers a gripping narrative with layers of drama, character conflicts, and mysterious connections. The introduction of Calica injects freshness into the storyline, keeping readers on their toes. While the art is visually appealing, it falls short of reaching the level of brilliance that could match the narratives potential intensity. The leisurely pacing may deter those seeking explosive moments, but the storys unpredictability promises an engaging journey.
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THUNDERCATS: APEX #1 is a rock-solid one-shot that unveils the mysterious identity of Apex, but it's not what you think. Ed Brisson's homage to classic Westerns carries that same atmosphere of dusty saloons and lone gunmen for a pleasantly unexpected vibe, and Rapha Lobosco's artwork is strong.
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TITAN: MOUSE OF MIGHT #5 takes the powerful mouses adventures to deep, soulful, emotionally deep places. Gary Shimpans story looks like its made for kids, but the script tackles surprisingly mature themes, and Shipmans art is as good as, if not better than, his writing.
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TOUCHING EVIL #19 exposes the curses origin with immediate and deadly consequences while Oliver tracks down the last member of the cabal. Dougherty does an admirable job of keeping the focus on the important threads to keep the story moving and give the plot some momentum. Also, the typically static art shows a noticeable improvement in energy during the action scenes.
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TOXX #1 is one of the more imaginative takes on comics inspired by pandemics, with a post-apocalyptic disaster and the one woman whose unborn child could be humanitys salvation. The world- and character-building are excellent, the art is solid, and the direction of the story is unpredictable.
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TOXX #3 turns Claires flight for refuge into a race for survival when competing gangs mean to capture her for her baby. The stakes and sense of dread for what comes next are through the roof, and the art teams visuals are generally good.
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TRANSFORMERS #3 elevates the action and the danger to humans when the warring Transformers and armed civilians create a flashfire of destruction. Johnsons edgier take on the Transformers gives the scenario a grounded, dramatic feel, and Johnsons art is action-packed. That said, the plot lacks substance after three issues.
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TRANSFORMERS/BACK TO THE FUTURE #1 is one of those rare mashups that lives up to expectations. The nostalgia and eater eggs in the story are amped up to 11, and the art will be satisfying for both longtime fans and new readers. This is a fun little book that's worth your time and money.
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TURKEY DAY (ONE-SHOT) is the weirdest B-movie, sci-fi, horror take on Thanksgiving youll likely ever see; wrapped around a social statement about recognizing the horrors of European colonialism. Strangely, both the message and the satire are so over-the-top, you wind up with a story that has a little bit of reading enjoyment for everyone.
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UNBORN #1 is a space horror/drama that feels like its taking you in one direction but surprises you with a twist that opens the door for a completely unpredictable and welcome reading experience. The dialog and interpersonal relationship writing are very strong, and the facial expressions from the characters sell the emotion poignantly.
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UNBREAKABLE RED SONJA #1 is a solid start to a Red Sonja adventure with a unique, science-fiction twist to keep things interesting. The plotting, pacing, dialog, and narration are all on-point, but the art is delivered with varying degrees of detail.
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UNBREAKABLE RED SONJA #4 escalates the stakes, the threat level, and the clarity to give the arc a much-needed shot in the arm. Zub names the mystery woman and shows why shes a dangerous threat to the entire world, and the art team delivers a better-than-serviceable output.
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UNDER THE INFLUENCE #5 concludes the uncomfortably real mini-series about Influencer Culture turned deadly. Rahal crafts a thought-provoking and messy (in a good way) ending, and Simeones stylish art suits the culturally relevant atmosphere of the story.
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UNIVERSAL MONSTERS: CREATURE FROM THE BLACK LAGOON LIVES! #1 lays a solid foundation for what promises to be an intriguing tale of horror and mystery. While the limited presence of the creature is a cause for concern, the engaging protagonist and atmospheric artwork help to compensate for this shortfall. We eagerly anticipate the subsequent issues and hope to see a greater focus on the creatures role in the story.
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UNIVERSAL MONSTERS: DRACULA #4 ends the mini-series with dreamy, beautiful art, powerfully emotional scenes, and atmospheric horror. That said, Tynion IVs choice to ultimately focus on Renfield means Draculas presence is shortchanged in the end for a mixed finale.
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USHER OF THE DEAD: THE EVIL MEN DO tells a lightning-quick story about the Angel of Death watching over a serial killers exploits. The ideas in this issue are surprisingly weighty and philosophically intriguing, and the art is serviceable.
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VAMPIRELLA VALENTINES DAY SPECIAL 2022 is an above-average anthology one-shot detailing four shorts of love found, love lost, and love remembered. Avallones short is the best of the bunch, but all stories have a little something to offer for Vampirella and romance fans alike.
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VAMPIRELLA/DRACULA: UNHOLY #2 is a clear, weird, sometimes uncomfortable, and yet, interesting next chapter in the strangest honeymoon story youre likely to ever read. The readability factor is significantly better over the last issue. The art is cleaner, the coloring is great, and the lettering is noticeable in a good way for enhancing the creepiness. In all, this is a solid issue in the series.
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VAMPIRELLA STRIKES #4 is a solid issue to reacquaint readers with the assortment of characters, their origins, and their abilities in preparation for the conflict to come. The art is a perfect complement to the hopeless, dire circumstances of the plot, and the writing contains a wealth of subtext. However, this is almost entirely a character introduction montage that sacrifices progress in the plot. Be warned!
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VAMPIRELLA STRIKES #4 is a solid issue to reacquaint readers with the assortment of characters, their origins, and their abilities in preparation for the conflict to come. The art is a perfect complement to the hopeless, dire circumstances of the plot, and the writing contains a wealth of subtext. However, this is almost entirely a character introduction montage that sacrifices progress in the plot. Be warned!
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VAMPIRELLA VERSUS PURGATORI #1, available from Dynamite Comics on March 24th, 2021, is a refreshing return to the glory days of comics when the bad guys loved being bad. The main conflict is original and gets the reader hooked in immediately, and the art is decent overall. Plus, this story has a nice little twist at the end that we didn't see coming.
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VAMPIRELLA VERSUS PURGATORI #2, available from Dynamite Comics on April 28th, 2021, combines decent art with a solid plot and an escalating sense of paranoid tension. It's hard not to wonder what happens next when you can feel a double-cross coming around every corner.
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VAMPIRELLA VERSUS PURGATORI #3, available from Dynamite Comics on May 12th, 2021, successfully merges a chase story with a double-cross mystery. The art is adequate and the writing is becoming surprisingly intricate with surprises yet to come.
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VAMPIRELLA VS. THE SUPERPOWERS #1 is a practically perfect mashup of horror, sci-fi, detective noir, and spy thriller all rolled into one. Abnett's complex plot works on multiple levels, the character work is outstanding, and the cliffhanger ends on a high note. That said, the art is good but not great and suffers from a lack of depth/polish.
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VAMPIRELLA: DEAD FLOWERS #1 begins a classic monster tale when Vampirella receives a spooky house in the will of one of her hated enemies. The central mystery is intriguing, and the storybook art gives the comic a dark fairytale quality thats enjoyable.
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VAMPIRELLA: DEAD FLOWERS #2 gets off to a bumpy start but picks up steam and turns into a fantastic monster mash with drama to spare. Frazetta and Freemans story harkens back to the early days of Warren Magazine, and the Gothic storybook art has an unexpected appeal.
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VAMPIRELLA: DEAD FLOWERS #3 continues the operatic turns with a horror twist as Vampirella faces off against Frances Moore. The pacing and plot developments are wild (in a good way), and the visuals are generally solid.
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VAMPIRELLA: MINDWARP #3 is a wacky, wild, gonzo romp as Vampirella and her friends battle demons and chase witches in an effort to get back home. The art and story snuggly fit in a mid-Century supernatural vibe ala The Munsters, and the art is boldly amusing.
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VAMPIRELLA: THE DARK POWERS #4, available from Dynamite Comics on March 17th, 2021, shows a more responsible and civic Vampirella than we've seen before. The art is good on average but the switch from one artist to the next is very inconsistent from panel to panel. Despite the art flaws, this issue gets high marks for writing.
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VAMPIVERSE #1 introduces readers to a multiverse-spanning adventure where something threatens to undo the Fabric of reality by killing every Vampirella in every universe. The writing, while exposition-heavy, puts readers on solid footing with clear purpose and direction. And the art, while lacking the imaginative, eclectic character designs that made Sonjaversal so successful, is adequate for the story.
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VAN HELSING: BEAST OF EXMOOR is a pitch-perfect creature feature thats tailor-made for October. The story cuts out the mystery fluff to get right into the action and the monster designs look great. That said, the pencils are uneven in spots and dampen the quality of the work.
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VAN HELSING: RITES OF SHADOWS is a solid creature feature starring Zenescopes resident monster hunter. The monster is inventive and poses an immediate threat to Liesels fighting style, and the art is generally gorgeous. That said, the characters lack any facial movement, so you feel like youre watching mannequins fight.
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VAN HELSING: DEADLY ALCHEMY delivers a thoughtful examination of the titular characters relationship with her long-deceased father as one of his forgotten experiments threatens Liesels existence. Mature writing is matched only by excellent art. However, a majority of this issue is spent on Liesels introspection, so readers may balk at the lack of action.
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VAN HELSING: FINDING NEVERLAND continues Liesel van Helsing's quest to undo the damage of her father's work. Pat Shand gives you tons of stroy for the cover price, and the art looks great. However, there's almost too much story for the page count, and it looks like a few shortcuts were taken.
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VAN HELSING: THE SYNDICATE is an engaging mix of emotionally deep character work and vampire-slaying action. Pat Shand continues to do momentously heavy lifting to force Liesel to grow into something more than a monster hunter, albeit at the mild expense of pacing, and Hakan Aydins art is solid.
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VAN HELSING: BLACK ANNIS, available from Zenescope Entertainment on March 31st, 2021, is straightforward monster movie fun. The plot makes sense all the way through and the art is on point with impressive coloring.
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VAN HELSING: VAMPIRE HUNTER #1 if youre a fan of Zenescope characters, especially Van Helsing, or if you enjoy monster-focused or horror-themed comics, this is a good pick. However, for those seeking groundbreaking or surprising narratives, it may fall a bit short.
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VENGEANCE OF VAMPIRELLA #6 has a fun story and a superb cover, but the clunky writing and inconsistent art put a damper on the fun. Recommend picking up only if you're a Vampirella completest.
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VENGEANCE OF VAMPIRELLA #15, available from Dynamite Comics on February 24th, 2021, brings the fight to Vampirella's doorstep with bloody, gory action and a growing sense of tension for the coming finale. The art is great, the story moves at a breezy pace, and the story successfully establishes anticipation for what comes next.
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VENGEANCE OF VAMPIRELLA #20 is a well-written, well-drawn prologue to the Vengeance war that's more focused on aftermath and cleanup than anything else. While it makes for a complete story, it's unclear where this story is headed next, if anywhere at all.
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VILLAINOUS #4, available from Mad Cave Studios on January 27th, 2021, takes the intrigue of a political thriller to the next level with players on the run, fallen comrades, and desperate moves. The story is well-paced and well-structured, and the art is largely appealing throughout. This is a recommended book (but make sure you start with issue #1 first).
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VOID RIVALS #5 continues the political intrigue and the surprising twists for a relatively satisfying issue. Kirkman keeps the plot moving at a steady albeit mild pace, and the art looks great.
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VOID RIVALS #6 cranks up the pace and the stakes when Solila and Darks escape plan turns into a flight for survival. Kirkmans end to the first act is a thrill ride from the first page, and the pseudo-cliffhanger ending promises intriguing discoveries when the series returns. That said, the cliffhanger, much like the art, is just okay.
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WELLINGTON #5 is an intimate, Victorian play filled with genuine creepiness and interesting character designs. The story works as a solid end to the current arc, and does a great job setting up the monster hunt to come. Highly recommended for fans of Victorian horror.
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WHITE LILY #5 is a somber yet fitting end to the real-life story of the White Lily. The art is excellent, particularly the coloring and the renderings of the fairytales. And the writing does a fine job conveying the spirit of fighters giving their lives for their country.
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WILD BULLETS #1 is a fun little murder mystery that gets very big very fast. Paying homage to, while poking fun at, a myriad of Hollywood character and murder mystery tropes, this comic is deceptively smart in the number of layers it piles on to give readers a unique storytelling experience. Equal parts farce and fantasy, youll enjoy this comic if youre looking for something a little different.
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WILD BULLETS #3 gets back to basics with a kidnapping mystery filled with drunk yetis, ancient graves, demi-gods in alternate dimensions, and an explosive ending. The art from each artist in their assigned genres looks great, and Wright does a solid job interweaving seemingly unrelated stories into the central mystery.
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DOCTOR WILDER #1 is a great first issue with a unique premise and setting for a truly original crime thriller. The dangerous scenes are dramatic and tense, and the little hints of futurism are cool enough to generate a wow factor while maintaining an air of believability.
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WITCHBLOOD #1, available from Vault Comics on March 31st, 2021, is an odd, unique, somewhat contradictory story of magic and monsters in the American South West. This first issue will get a positive score solely on technical merit, but whether it's truly good or not is squarely up to you.
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WOLVENHEART #8 takes readers on a wild ride with vampires, werewolves, dimension-hopping, and a potential double-cross cliffhanger that may turn all of Sterlings action upside down. The art is generally good with the exception of a few, odd anatomical choices, and theres plenty of surprises to build curiosity for the next issue.
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WOLVENHEART #11 is a well-written and thoughtful character-building issue surrounding one of Wolvenhearts core team members. The life choices Obak recalls feel weighty, each scene is important to Obaks development, and while this is a breather away from the main arc, the story feels important to the overall canon.
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WOLVENHEART #12 is an excellent read with plenty of story development, helpful backstory, and brilliant pacing. That said, the art is good but it lacks pop.
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WONDERLAND ANNUAL: OUT OF TIME takes a fast-paced and exciting trip through Time as Calie Liddle and her daughter Violet visit every major event to stop the Jabberwockys madness before it starts. Readers get plenty of adventure for the cover price, and the art is above average for the typical Zenescope annual.
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WORMS CRAWL IN successfully merges the buddy cop drama and zombie genres for a wholly unique and entertaining story. The writing is excellent and the macabre art style suits the material well. This is a recommended purchase.
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WYND #2 is a solid, character-building issue. The art team is firing on all cylinders and Tynion IV's writing really uses every panel to build depth. If the team can address some of the lingering questions sooner rather than later, this will be a satisfying series.
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X-O MANOWAR #3, available from Valiant Comics on December 23rd, 2020, takes the hero-for-hire concept and adds some interesting nuance. The writing moves the story forward at a nice pace, and the art is stellar all the way around. I would recommend this book for action fans and especially Iron Man fans looking for something better.
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X-O MANOWAR #4, available from Valiant Entertainment on January 27th, 2021, raises the threat level while concluding the Yakiov storyline neatly. With the strongest art in any monthly comic right now and an action-packed story, this series remains one of our favorite series of 2021 so far.
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X-O MANOWAR: UNCONQUERED #3 escalates the pace and the stakes for the series by unveiling the secret reason the Romanus Legion is interested in Aric. While still weighed down with heavy dialog and posturing, the art is consistently gorgeous, and the series takes a big step up in engagement for the reader.
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YOUVE BEEN CANCELLED #3 delivers a hard-hitting, penultimate issue that re-imagines The Running Man with a social media twist. Piress character work is outstanding, and Castanieros emotional acting and action choreography work equally well.
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YUKI VS. PANDA #1, is a cute, charming, slightly slapstick introduction to what could be the most bizarre blood feud in history. The art is bright and appealing, and the story is most certainly original with a fun touch of weird.
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PANDA VS. YUKI #9 is the strongest issue in the series yet because the creators take the time to provide long overdue explanations about whats happening. The explanation feels epic enough to match the original premise, and Joness sight gags add an amusing bit of humor. That said, the ending scene comes out of nowhere and doesnt match what happens in the preceding pages.
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The RED SONJA VALENTINE'S DAY SPECIAL 2021, available from Dynamite Comics on February 10th, 2021, takes unrequited love to a whole new level of uncomfortable. The art is excellent and all the pieces are there for an enjoyable story, but it won't be everyone's cup of tea.
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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.
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COBRA COMMANDER #5 elevates Cobra Commander as a Class-A villain and serves as an origin story for the formation of Cobra, heavily integrated with what's happening with the Transformers. For the most part, Williamson sticks the landing, albeit with an uncomfortable number of shortcuts to cross the finish line, and the artwork is perfectly serviceable.
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CREEPSHOW (VOL. 2) #5 delivers two comics-themed tales of terror to wrap up the volume. Andry and Daniels story about a monster under the bed is the winner in this anthology for tapping into a universal life lesson about loving your hobbies. Sadly, Saladin Ahmeds preachy story lands with a thud.
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DARKSTALKERS: JEDAH #1 ffers great action, an interesting premise, and a solid setup for future events. However, its lack of accessibility for new readers detracts from its overall appeal. Despite this, the art and execution of the story are commendable.
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DECORUM #3 is a commendable book for its daring approach to art and visual storytelling. You'll either love it or hate it, but you'll certainly never be bored by it. Pick it up for something truly different.
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EDENFROST #2 slows down the urgency in favor of an exposition-heavy issue to reveal the nature of Alexs power and the predicament the siblings find themselves in with their savior. Tishler deserves credit for taking the legend of a Golem and giving it a magically fascinating twist, and Frendas art is some of the best to come of Mad Cave in a while. That said, the exposition dampens the pacing, and not all of it is worthwhile.
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FISHFLIES #6 takes a break from Fran's adventure for an issue-long flashback that explains the history of the Fishfly monster and the cycle of violence that activates a curse on Belle River. Lemire's script goes a long way toward bringing clarity to the narrative, and the guest artist breathes fresh life into the visuals. That said, the listless pacing suggests this series is better read as a trade.
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Geiger #6 is a beautifully rendered and surprisingly thought character piece about Geiger's dog. The tale of inspiration will make you feel warm and fuzzy, but the inspiration comes at the expense of a plot that has moved in ages. This series is treading water, but you feel good doing it.
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GEIGER #7 is a perfectly fine albeit sedate issue. Geoff Johns delivers a solid mix of action and art, but the plot pacing leaves much to be desired. Plus, the art team presents excellent art, but it's a noticeable step down from series regular Gary Frank's style.
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GIANT-SIZE X-MEN NIGHTCRAWLER takes the reader on Hickman's version of a mutant ghost story. The art is strong, but the story is bland. This book is best for hardcore X-Men fans that don't mind the "Giant-Size" price tag.
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GRIMM TALES OF TERROR 2024 HOLIDAY SPECIAL delivers four tales about people living on cursed land in New York who meet untimely ends. David Wohl's collection of generational horror is relatively solid, albeit imperfect, and the contributions from each artist are very good.
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GUMAA: THE BEGINNING OF HER #4 presents a tantalizing mix of mysteries and visual splendor. The captivating urban fantasy setting, coupled with Khalidas enigmatic journey, keeps readers hooked. However, the abundance of open questions poses a potential challenge, and the narrative risks veering into confusion. The arts brilliance is undeniable, but the balance between story and visuals needs careful consideration.
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GUN HONEY: COLLISION COURSE #3 delivers tension-filled standoffs, surprise developments, explosive outcomes, and titillating art. Charles Ardai's plot ties this series into a much larger plan that gives the arc greater importance, and Ang Hor Kheng's outstanding art makes even the silly bits of the story feel important.
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GUNSLINGER SPAWN #29 ffers a captivating blend of world-building and character exploration. Javis journey in this newfound mortal world is both intriguing and visually stunning, thanks to the impeccable art and color work. While the plot may feel slightly thin on major developments, the issue sets the stage for a promising narrative arc. Fans of Todd McFarlanes storytelling and Spawns universe will find this installment a worthy addition to the ongoing saga.
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GUNSLINGER SPAWN #30 presents intriguing character dynamics and hints at promising storylines, albeit lacking in plot depth with immaculate artwork and potential for growth.
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GUNSLINGER SPAWN #31 gets into the heart and mind of Javi as Linda helps him get healing and supplies for the next step of his revenge quest. McFarlane does a solid job of sticking to the theme of revenge, and Barberi's art is phenomenal.
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GUNSLINGER SPAWN #38 doesn't move the plot very far but more than makes up for it by calling the connection between Hell and Earth into question and delivering a last-page surprise that changes everything. Todd McFarlane's sedate script drops at least two surprises at just the right time for maximum impact, and Carlo Barberi's artwork is phenomenal.
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HAUNTED HOUSE: A LOVE STORY #5 is another solid issue in this intriguing series. The emotional connection with the house is strong, the concept is original, and the artwork is a good fit for the story. Sure, theres that one slightly awkward moment, but it doesnt detract from the overall enjoyment.
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ICE CANYON MONSTER #2 marks a substantial improvement over its predecessor. The narrative gains clarity, providing a more immersive experience. The emotional journey of Fina tugs at the heartstrings, and the Tupilaqs increased scale amplifies the threat. While a few issues persist with timeline shifts and clunky dialogue, the overall trajectory of the series is promising.
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IRON MAN #3 takes Iron Man further down the rabbit hole of self-loathing before dealing with the biggest blow of all from the series' main villain. The art is gorgeous on all fronts, but the story's constant Iron Man bashing borders on sadistic. Read at your own risk.
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JUGGERNAUT #1 is a kinder, gentler, and frankly, more likable exploration of a character that's evolved beyond his origins. The writing is well done and the art greatly compliments the story. Strongly recommended.
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JUGGERNAUT #2 pits two behemoths against each other in a titanic battle that ends badly, in more ways than one. The art team elevates this issue beyond the story for a decent read.
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KING SPAWN #32 offers an intriguing narrative filled with suspense and action, showcasing Spawns resilience amidst mortal limitations. However, unresolved emotional connections and subpar art quality dampen the overall impact of the issue.
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KING SPAWN #33 is a montage melee of action and torturous violence to prove that Al Simmons doesnt need his powers to be a certifiable threat. Spawns quest to find Granny Blake is relentless, and the art looks great. That said, the only thing missing is an actual plot.
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LADY MECHANIKA: THE DEVIL IN THE LAKE #1 begins a fanciful Steampunk tale about a monster-hunting cyborg sent to rescue a research team from a sea monster. Joe Benitez and M.M. Chen captures an authentic vibe of pulp adventure, and Siya Oum's art is exquisite. That said, the issue takes a little time to get going, so be prepared for hefty amounts of dialog.
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LEGEND OF THE SWAMP THING HALLOWEEN SPECTACULAR #1 is a satisfying collection of short stories that tell tragic tales with an alternate version of Swamp Thing throughout history. There are more hits than misses with each story, and it's a melancholy collection that will put you in just the right mood for the holiday. Happy Halloween!
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LOAN SLOANE: CHAOS is the type of comic that pushes all the contemporary artistic boundaries. By itself, the story is imaginatively odd, but coupled with the hyper-textured art, creates a completely different category of comic. I highly recommend picking up this book for anyone that wants to stretch their imagination.
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MYSTERE ANNUAL: SEEDS OF THE ABYSS depicts the next Zenscope hero to encounter a Lovecraftian horror, and it's a doozy. The art is amazingly consistent for a book with multiple artists, and the overall plot is rock solid. That said, the pacing struggled to stay up at points, and Mystere spent too much time resisting her role as a hero.
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RAI: THE BOOK OF THE DARQUE #1 quickly re-introduces readers to Rai as an unwitting pawn in a world-encompassing war. Abnett's script gets off to a shaky start, but the art is solid, and the story improves once the twist lands midway through.
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REBEL MOON: HOUSE OF THE BLOODAXE #1 delves deep into the background players of Zack Snyders Rebel Moon with a story focused on the Bloodaxe siblings family history. The story is generally okay, although its focused on players who have little relevance to the film, and the art is generally solid.
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RED SONJA (VOL. 7) #14 is light on the plot and sidelines the war against Emberfall, but the script is tighter and establishes the basic components of a solid comic. Torunn Grnbekk shows uncharacteristic attention to establishing purpose and motivations, and the art team delivers a great set of visuals.
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RED SONJA: DEATH AND THE DEVIL #4 completes the miniseries with a finale that ends the tale stronger than it started. Luke Lieberman's conclusion delivers the goods with action, surprises, and interesting choices for our hero, and Alberto Locatelli's art is perfectly fine.
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REVOLUTION 9 #1 is a tight action comic packed with secret cabals, assassins, and dramatic character moments that could shake the hidden pillars of the world. London covers an astounding amount of world- and character-building in a small space, and the art is some of the best we've seen from Mad Cave. However, there are a few rushed spots, so this very good comic is just short of great.
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SAVAGE RED SONJA #4 offers a compelling mix of brains and brawn, highlighting Red Sonjas prowess and the escalating dramatic tension. The constant threat of betrayal adds depth to the narrative, keeping readers on the edge of their seats. However, the issue falters in delivering the expected swordplay action and falls short in the art department.
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STAR TREK: YEAR FIVE #12 is a strong finish to the Gary Seven invasion story. The admittedly predictable ending wraps up the plot neatly and sets up the conflict to come. The passable art is buoyed by great coloring and an expert lettering job.
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THE SCORCHED #36 is a solid issue in the series that finally signals the arrival of progress toward restoring Earth's Spawn-related characters. John Layman and Todd McFarlane's script is packed with drama, mostly due to the impressively layered character work, and Stephen Segovia's action art is very good.
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THUNDERCATS #3 offers a mix of action and story development, with the return of Snarf adding to the overall experience. However, the subplot involving Slithe feels tacked on, and the art, while not terrible, could be more dynamic.
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U.S. Agent #1 is an irreverent take on the Captain America wannabe whose latest assignment suffers from his lack of finesse. The jumpy storyline has some strong moments and jokes, and the art elevates this issue beyond the sum of its parts. This is a recommended read.
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VAMPIRELLA: DARK REFLECTIONS #5 brings the miniseries to a close with escalating stakes, big action, and a new status quo for the hero to set the groundwork for new stories. Except for one creative choice that feels like a cheat, the finale pays off the buildup on all major fronts.
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VOID RIVALS #8 gives you plenty of action and emotional beats, ending on a strong cliffhanger. Despite some shortcomings in the art and choreography, it remains a solid issue.
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VOID RIVALS #11 gives readers big, Transformers action, heart, and meaningful developments aplenty. The plot points in this issue could be signaling the start of a major expansion to Transformers lore. That said, multiple plot threads pop up without a smooth transition, and the art is just okay.
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VOID RIVALS #12 ends the second arc on a sedate note as Robert Kirkman plants plenty of seeds to imply big things are coming. The scenes play out well, and the overall narrative is interesting, but the issue generally lacks wow moments or a memorable cliffhanger. It's a good comic but a soft way to end the arc.
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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.
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ENGINEWARD #3 builds on the world building from the previous issues and finally launches into the main adventure. The story is a clear and breezy read, and the art accentuates the hot desert venue well.
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POWER PACK #1 is a light and cheery start for the return of the super siblings. Despite Katie's bizarre characterization, the action is fun and the family interactions are amusing. The bright art pulls it all together. POWER PACK #1 is a recommended read.
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STEALTH #4, available reads as one of the better action movies of the last few decades. The story is action-packed with a few surprising jolts of humor to make the issue thoroughly entertaining. The art is colorful and cinematic, and this issue would serve as a great pitch for a film or streaming adaptation.
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THE DEVIL'S RED BRIDE #1 takes some of the best parts of classic samurai tales and splices them into a uniquely original story. The art is gritty and dramatic, and the writing has the potential to tell another classic tale. This is a great read for any samurai fan.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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BY THE HORNS #8 ends the inaugural arc of the series with tons of visual appeal, exciting action sequences, and a reasonable ending to the Feng Po conflict. That said, the major plot point of Elodies mis-deeds against the unicorns is not addressed at all, making for a half-frustrating conclusion.
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CARRIERS #3 has a surprising amount of dramatic tension, tense dialog, and multiple conflicts to hold the readers attention. That said, the art is just average and consistently inconsistent for the series as a whole.
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CHERISH #4 deluges the reader with twists, turns, and more surprises than a soap opera during Sweeps Week. The art is generally good, and the story is certainly unpredictable, but the sheer volume of new information turns into overload, and the art quality is inconsistent in spots.
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CHERRY BLACKBIRD #2 is grindhouse exploitation in its purest form with plenty of gore, quippy black humor, and bad people losing their heads (and every other body part) on nearly every page. While the art is rough around the edges and the central plot is largely an excuse to commit mayhem, this comic succeeds in giving gore fans a good time.
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COLTS #1 satisfies your cravings for ragtag military teams on a deadly mission to deliver precious cargo in a future Earth. The military battles and settings are fun, and the eclectic cast of characters is well-introduced, but the world-building is lacking in the rush to pack the story.
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COMMANDER RAO (ONE-SHOT) is an emotional case study on the extremes one person will go to in the name of someone they care about. The art is quite good for a one-person creation team, and all the logistics of this one-shot (pacing, acting, dialog, etc.) are excellent. However, the conclusion doesnt resolve an open question and dampens the enjoyment of the story by ending on a frustrating note.
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CORSET #1 is an imaginative take on Beauty and the Beast set in the high-society world of Victorian-era fashion. The art captures the charm of antiquity with surprisingly eye-catching coloring, and the story takes a classic story concept and makes it feel fresh with a unique spin. That said, the sometimes-modern dialog regularly pulls you out of the story to dampen the reading experience.
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CREEPSHOW: WOLVERTON STATION (ONE-SHOT) offers an okay story with the appeal of werewolves and a satisfying twist for the classic American jerk character. However, the narrative stumbles due to a lack of setup, and the art, while strong in the werewolf department, could use refinement in backgrounds and details.
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CULT OF DRACULA #1, available from Source Point Press on March 31st, 2021, takes the Dracula concept, spins it into a modern, mid-West cult massacre, and gives you just enough info to whet your appetite. The concept is exciting for vampire fans, the writing is impactful, and the art is serviceable.
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DARKWING DUCK #4 delivers a serviceable ending to Darkwing Duck's retirement and Bushroot's attack on St. Canarad with great action and fantastic art. That said, Burshroot's defeat and Drake's "retirement' ends too quickly and easily, leaving half the issue to deal with uninteresting family matters.
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DARKWING DUCK #7 deals a big blow to Darkwings ego and kicks off a new mystery surrounding a thief obsessed with sidekicks. DWs angst and bickering with Neptunia are amusing, and the mystery is intriguing, but the art lacks a polish, and DWs museum tour drags on too long.
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DARKWING DUCK #8 commences the race to find Launchpads stolen compass before Neptunia, but DW needs a little help from Gizmoduck. The globe-trotting adventure feels expansive, and this issue serves as a good primer to get to know Gizmoduck, but the thief and his motivations are still a complete mystery.
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DARLING #1 combines thoughtful, personal writing about the life of a drug addict with sketchy, disorienting art to perfectly set up a flawed protagonist. Despite the lack of plot development, there's enough meat in this issue to get readers into the right headspace for the trials to come.
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DEAD KINGDOM #5 ends the arc on an emotionally powerful note as Kain and his allies reflect on their trials while experiencing a range of grief, rage, sadness, and hope. That said, the arc ends on an odd note as almost everything surrounding the mysterious cult is ignored, presuming the story will continue at some later point.
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DEJAH THORIS: WINTER'S END, available from Dynamite Comics on April 28th, 2021, is the best example possible of the calm before the storm. Quick, simple, efficient shorts that emphasize the importance of each character and prepare you for what's going to happen next.
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DEJAH THORIS FAIRY TALES (ONE-SHOT) feels like a tailor-made mashup between a classic fairy tale and modern science fiction. The parallels between Dejah Thoris and Snow White are remarkable, the narration captures the right amount of whimsy, and the resolution includes just enough of a twist to avoid becoming too predictable. That said, the art is very uneven and looks rushed or incomplete in several spots.
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DEVILS DOMINION #5 takes a demonic and emotional conflict centered around the main character and increases the scale exponentially. The dialog, pacing, and plot movement all push a growing sense that something epic is coming. That said, the art is good but it struggles to live up to the demands of the action scenes.
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DISTEMPER: CHASED #1 is a taut, paranoia-filled story about a group of survivors after the end of the world. Bushell creates a palpable atmosphere of tension and violence, while Cviticanins grounded art infuses the story with uncomfortable realism.
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DOCTOR WHO: EMPIRE OF THE WOLF #1 gives every Doctor Who fan all the Easter Eggs and fan service they could possibly want in a scant first issue. The art captures the look and feel of the actors while remaining organic to the comic medium. That said, the narrative flow, much like the broken timeline, is a confusing jumble. Whether thats intentional or not remains to be seen.
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DOCTOR WHO: ORIGINS #4 is a serviceable end to the current conflict with good dialog, a generally solid way to save the day, and excellent art. That said, the overall issue lacks urgency and energy, so your satisfaction level may be underserved.
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DRAGON WHISPERER (VOL. 2) #4 is a strong entry in the series with an unusual concept for Time, strong character developments, and a dramatic backup story that fills in the tragedy of Obsidians past. The transition between this issue and the previous one feels like a few panels are missing, which may feel confusing from the start, but the story catches up in a hurry.
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EDIE #2 is a solid issue with a compelling premise, but it stumbles by lingering on the assault details and neglecting the monster side. The pacing suffers, and the tonal imbalance prevents a truly cohesive experience.
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ELVIRA IN HORRORLAND #1 is a fine Elvira comic with a story that should put a smile on your Horror-film-history-loving heart. The plot delivers on its promise, and you can never not like Elvira. That said, the volume of puns may be too much for some tastes, so your enjoyment value may vary.
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ETERNAL WARRIOR: SCORCHED EARTH delivers a solid adventure for fans, but newcomers can easily jump in, too. The pacing is mostly good, the stakes are high, and character development is generally well-done. However, some writing rough spots exist, and the art has its inconsistencies.
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EVIL ERNIE (VOL. 4) #5 is the best possible ending for a solid arc that took a chaotic turn at the midpoint. The dangling threads are wrapped up neatly with an open door for future stories, and the art team knocked this issue out of the park.
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EXORCISTS NEVER DIE #1 is a decent start to an interesting premise about exorcist warriors infiltrating a soul auction. The ideas are unique, and the art team delivers strong character designs. However, the character- and world-building are achieved through painfully stiff dialog.
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EXTRAORDINARY #4 leans on expert character work and dialog to carry a largely predictable plot in the best tradition of grounded superhero teams. The action is well-paced, and the outcome is satisfying, although the character anatomies are strangely inconsistent to the point of distraction.
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FAIRY TALE TEAM-UP: ROBYN HOOD & RED AGENT is a better-than-average team-up that finds Robyn Hood and Red Agent teaming up to resurrect a "deceased friend. Dave Franchini makes good use of the page count, a chronic problem in previous Team-Ups, to keep the story moving, and the art is solid.
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FALLEN #3 escalates tensions among the groups of fallen gods with assassinations, double-dealing, drug overdoses, and more. Reading like an urban fantasy version of The Sopranos, Ringel's story is heading in unexpected and intriguing directions.
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FALLEN #5 steps on the gas to unmask the mastermind behind the Norse and Greek god killings with a lightning-quick, action-packed issue. All the characters are lined up to prepare for the climactic finish in the next issue, but you get a clear sense that Ringel had too much story and not enough pages for a rushed setup for issue #6.
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FICTIONAUTS #1 is a unique and esoteric concept about a team of heroes who protect our reality from an increasingly crowded fictional reality. The premise is certainly creative, but admittedly, it sometimes gets too complicated to comprehend. The art makes up for some of the complications with arresting visuals that mix genres like nothing youve seen before.
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Overall, how does FIRE AND ICE: TEEGRA (ONE-SHOT) stack up? If you enjoy a little light humor with your fantasy, and youre in the mood for a whole lot of TNA, youll probably have a good time. However, if youre looking for something that captures the drama and intensity of the original Fire and Ice film, this wont quite hit the mark.
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FUNG GI #1 presents an interesting concept with imaginative world-building and engaging character designs. The mystery surrounding the attacks on the protagonists village adds depth to the plot. However, the stiffness in dialogue and lack of facial expressions hinder the immersion in the story.
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GEORGE R.R. MARTIN'S A CLASH OF KINGS (VOL. 2) #13 takes the concept of faithful adaptation almost to an extreme. The art is grounded and strong, but the story could use more focus in telling.
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GARGOYLE BY MOONLIGHT (ONE-SHOT) is an entertaining mix of supernatural, superheroes, and snarky sarcasm. Doyles current and future adventures are ripe with potential, and the art is solid, but new readers may need a few pages to get invested due to the lack of setup.
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GARGOYLES #5 builds on the new arc's strong start with an issue that lays out a wide-reaching, intricate conspiracy to take the gargoyles out of commission. The plot details are well-crafted, but the issue is rushed overall.
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GARGOYLES #7 uses a clever trick to wrap up the Slaughter assassination through the eyes of a character who has yet to appear in the series, portending tough times ahead for the clan. Weismans clever narrative trick is executed well, and Kambadaiss art is improving.
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GARGOYLES: DARK AGES #4 begins a new arc a few years after the Battle of Wyvern Hill, where the humans and gargoyles live together in peace. Weismans detailed world-building is thorough and detailed, and the art is super. However, young readers who need excitement to stay engaged wont find much.
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GRETEL: DARK IMPULSES continues Gretels journey down a dark path for the right intentions, creating heaps of relationship problems with Calabar. Wohl gives the partners authentic, dramatic reasons to be at odds without any easy answers, and Oteros art is top-notch for Zenescope. That said, the main villain is defeated too easily, which hurts the satisfaction factor of this issues conclusion.
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GRIMM FAIRY TALES #46, available from Zenescope Entertainment on March 10th, 2021, is a solid story with an amusing twist on a classic Grimm fairytale. It's a quick read that gets the job done to build on Skye's legacy, but the art falls a little short in this issue.
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GRIMM FAIRY TALES #47, is a solid book with solid action, solid art, and forward progress towards Skye capturing all the escapees. However, the series is tipping a little too close to predictable and needs a narrative shakeup in the next issue.
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GRIMM FAIRY TALES (VOL. 2) #62 lays the foundation for a big, loud, chaotic final battle in the upcoming finale, ending the saga as any war should. The chaotic energy and pacing are outstanding, and the players move in place for a promising conclusion. That said, there are too many exposition-laced cameos that rush the plot along, and the linework is annoyingly sloppy in spots.
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GRIMM FAIRY TALES (VOL. 2) #67 reveals the two big villains of the arc and puts the Shang Gang back on the heels. Franchinis story builds a sense of impending doom, and theres plenty of action to keep your eyeballs engaged. However, the plot in this issue feels generic, and the art quality is sub-par.
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GRIMM FAIRY TALES (VOL. 2) #72 splits up the Shang Gang and sends everyone hurrying in different directions to face threats wherever they pop up. If you're into action, you get a lot for your money in this issue, but the uneven pacing and lack of plot focus dampen the satisfaction factor.
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GRIMM FAIRY TALES (VOL. 2) #79 is good, particularly for Lovecraft enthusiasts and Zenescope fans interested in the merger of the two themes. While the art has room for improvement, the story progresses smoothly, bridging Skys escape from the Dream Verse. A more prolonged exploration within the Dream Verse could enhance the narrative.
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GRIMM FAIRY TALES (VOL. 2) #81 is a good, action-packed read. The story throws some exciting developments at us, and the villain organization seems like a formidable threat. However, the lack of clarity regarding their motives weakens the overall impact. The art is serviceable but could be better.
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GRIMM FAIRY TALES 2022 ANNUAL is a big, wild, action-packed finale to the Dark Princess saga with super art and high-energy pacing. The good guys save the day but with more than a few hints that trouble is on the horizon. That said, the lengthy annual runs into a few repetitive spots, and the resolution leaves the door open a little too wide to be believed.
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GRIMM SPOTLIGHT: IRON MAIDEN is a solid one-shot exploring the life and times of one of Zenescopes more enigmatic characters. The art is top-notch, the dialog, pacing, and overall plotting are excellent, and the conclusion evolves the character appreciably. However, there are significant gaps in the origin to explain how Iron Maiden arrived in her present state, and the heel turn in the last act was unearned.
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GRIMM SPOTLIGHT: CINDERELLA VS. THE TOOTH FAIRY is a colorful, imaginative, wild, and wacky story that doesnt take itself too seriously. The action is over-the-top, jokes mostly land, and the silly tone is amusing.
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GRIMM SPOTLIGHT: ZODIAC VS. HYDRA brings attention to one of Zenescopes lesser-known characters when Zodiac grapples with his brothers fate as Hydras plans get in the way. The emotional beats are strong, Zodiacs (and Scoprios) future potential is stronger, and the art is solid. That said, Dagons appearance comes out of nowhere to disrupt the flow of the story.
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GRIMM UNIVERSE PRESENTS QUARTERLY: 2021 HOLIDAY SPECIAL assembles three horror shorts set in Las Vegas where Krampus has come to spread his own brand of Christmas cheer. The shorts are largely original, and the art is solid throughout. However, the lack of Krampuss presence in each story doesnt quite give off a Holiday feel for whats supposed to be a Holiday Special, resulting in a scary but generic horror anthology.
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GUNBREED #2 delivers three more short stories about Sheriff Cain and his undead mission to protect his cursed town. All the shorts are decently done and either expand Cains legend or foreshadow things to come. The guest artists vary in style and quality, but there isnt a stinker in the bunch.
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GUNBREED #3 spells out the tragic circumstances surrounding the Bajo Tierra massacre that gave rise to the undead Sheriff Cain. The pacing, tension, and action are on point, and the second story builds oodles of intrigue, but the Sheriffs origin has a few rough spots in the scene transitions and plot progression.
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GUNSLINGER SPAWN #22 is all about the action as GunSlinger Spawn fights Clown while Dakotas T-Rex fights Vindicator. Dont look for deep character work or complex plot progression. This issue is all about the action, and it looks fantastic.
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GUNSLINGER SPAWN #23 ends the island battle with slightly more than a whimper before sending everyone off to deal with the Heaven/Hell war. However, McFarlane uses the issue to deliver great character development for Dakota, leading to a new bargain and status quo in her relationship with Javi.
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THE HARBINGER #1 is a rock-solid relaunch for the Valiant title with an interesting mystery about the main characters resurrection. The story is fairly accessible for new readers to the title while still giving existing fans plenty to like. The discoveries around whats happened to the city since Peter disappeared are relatively satisfying, and the art is serviceable.
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THE HARBINGER #4 wraps up the current arc by answering the two big mysteries teased since issue #1. The big reveals get the job done to transition readers into the next arc, the answers feel small and dont live up to the hype. The art is generally good sans Renzis obsessive overuse of purples.
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THE HARBINGER #8 ends the arc with a technically solid finale. All the loose ends are tied up, and everyone can go off living happily ever after. That said, the end lacks any sense of danger, stakes, or emotion, leaving readers with a completely forgettable story.
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HELL HEIST #1 begins a two-part tale that mixes fast-paced crime thrills with ancient evil for a solid first issue. Ralph Tedesco ticks the right boxes regarding plot, pacing, and dialog, and Al Barrionuevo's art is very good. That said, some readers may balk at the excessively high cover price.
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HELL SONJA #4 is a serviceable issue that does a lot of talking and hits readers with a shocking, game-changing moment on the last page. That said, the lack of action and the close-quartered setting made the issue feel small and lacking in energy.
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HELL SONJA #5 is a serviceable finale to an imaginative series with big emotion at the end. Unfortunately, the big battle doesnt live up to the big emotion, so you get a mixed issue. Likewise, the art is a downgrade from the previous issues with only serviceable visuals.
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HOAN OF ORCS #1 begins an intriguing start to a reimagining of the Joan of Arc legend with an Orc as the protagonist. The setting, world-building, and character setup are great, and the plot is top-notch. However, the dialog has some rough spots, and the inks could be a lot tighter.
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IMMORTAL RED SONJA #9 takes a big step in the right direction for the floundering title with big battles and a new sense of purpose for the arc. This issue goes a long way toward building momentum, but the previous issues spent too much time treading water, so some scenes in this issue were rushed to get the characters where they needed to go.
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JENNIFER BLOOD: BATTLE DIARY #1 begins the next mission for the worlds deadliest vigilante when Blood infiltrates a criminal biker gang. Van Lentes story bears all the hallmarks of a great Blood kill-fest in the making, but the beginning feels underdeveloped.
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KAMEN RIDER KUUGA (VOL. 1) is an imaginative, unpredictable, horror-leaning entry into the Kamen Rider mythology. The villains are monstrous, the heroes are suitably heroic, and the art is generally good. That said, the origins of the monsters and the Kamen Rider are not explained well, and the action art is hard to follow.
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KING KONG: THE GREAT WAR #2 is a gritty, dramatic, terrifying story about a ships crew struggling to survive on Skull Island. The dramatic and horror elements are both executed well through the writing and the art, but the main down point is that this story feels like the same King Koing story weve seen before.
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KING KONG: THE GREAT WAR #4 continues the seemingly hopeless race to reach high ground on Skull Island. Coxs tale of woe whittles the band of shipwrecked soldiers down in horrific scenes of death, and Bianchis grim, moody art elevates the atmosphere of dread.
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KING SPAWN #24 does exactly what you would expect in a final battle of an arc take out the trash with extreme prejudice. The art is solid, and readers who want Spawn action get plenty of it but dont expect much by way of plot or character work.
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KING SPAWN #30 provides closure to the Al and Wanda relationship but doesnt significantly impact the larger Heaven and Hell War narrative. While emotionally resonant and artistically well-executed, the plots contribution is modest.
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KISS: PHANTOM OBSESSION #2 improves on storytelling and art to lay out a wacky sci-fi story that makes sense. Edginton executes one of the better examples of a villain monologue, and the artwork eliminates the rushed/unfinished problems from the previous issue.
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LOVECRAFT: UNKNOWN KADATH #5 continues an impressively faithful adaptation of Lovecrats Dream story with an issue that gives Randolph Carter plenty of warning to give up on his dangerous quest. The art is fun, and the distillation of dialog and events into comic format is commendable, but this issue struggles with the volume of dialog and the sheer volume of names and locations readers need to remember.
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MIDNIGHT WESTERN THEATRE: WITCH TRIAL #2 escalates the threat against Sarah and Ortensia when a familiar demon comes calling. Southards story gives WMT fans an excellent opportunity to learn more about Ortensia, and Mapas art is generally good.
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MIDNIGHT WESTERN THEATRE: WITCH TRIAL #4 takes a break from the action to reveal the origin of Ortensias fate and the forces competing to control her. Southards dialog-heavy issue fills in many of the blank spots of Ortensias past to set the stage for a long and danger-filled future.
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MIDNIGHT WESTERN THEATRE #5 is filled with sweet and heartfelt moments to show how Ortensia and Andrew first met, but the one thread holding the series together is almost completely ignored. The arts great. The character interactions are emotionally solid. But this issue feels out of place and incomplete for the end of the arc.
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MIGHTY MORPHIN POWER RANGERS #113 delivers another Billy-centric issue as the Blue Ranger returns home, gathers a ragtag band of allies, and initiates a plan to save the Morphin Grid. Theres plenty of Morphin action and tons of cameos, but casual readers may feel lost.
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MONOMYTH #1 is a curious start to a new series that mixes elements of Arthurian legend, time travel, and Harry Potter for a tale about seven strangers forced together by a wizard's spell. The concept is intriguing, and the technical execution of the script is solid, but the inks are weak, and the plot takes a backseat to the world- and character-building.
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MONOMYTH #2 is an emotionally-deep character study that brings readers up to speed on each of the would-be wizards and what they endured to become the people they are. Hazan's character work is excellent, and the art is creepy. That said, the plot doesn't move much, and none of the first issue's questions get answered.
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MONOMYTH #4 slowly reveals the connection between the students, their families, and the notion that the castle will keep killing until only one remains. Hazans script brings a little clarity to a largely opaque series, and the magic art is visually engaging, but a lot of open questions remain, with only two issues left.
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MORNING STAR #2 is a poignant, deep, emotional exploration of a family in mourning, leading (maybe) to a supernatural event. Andry and Daniel's character work is next level, and the art team masterfully uses mod to enhance the narrative. That said, the plot barely moves an inch, so readers waiting for a hook will be left frustrated.
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MURDER HOBO: CHAOTIC NEUTRAL #3 is gross, puerile, underground comic adventure at its finest. The story, despite the mature themes and humor, is a proper D&D-style campaign with plenty of open questions and curiosity for the adventure to come. While the art is just as gross as the writing (by design), the coloring is a surprising standout.
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MYSTERIUM #3 brings the mystery game to a close with more clues, ghostly hints, and clever conclusions to bring the tortured soul a bit of peace. The Disney-esque art and the whimsical writing give the entire setting oodles of charm, but the final solution takes a few leaps in logic.
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MYTHS & LEGENDS QUARTERLY: JACK & JILL adds a new twist to a classic duo with a completely original backstory for the titular characters. Despite a small army of artists, the style transitions are smooth and make sense for the structure of the story. That said, twists and turns overwhelm the last third of the issue making for a ponderous and convoluted resolution.
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MYTHS & LEGENDS QUARTERLY: JASMINE is a solid origin story and update for the magical character. Jasmines origin scenes form a solid foundation for her motivations and explain the source of her power. Her current enemy, however, lacks character development and motivation other than hes evil. Its a solid origin and update, but the comic as a whole is a mixed bag.
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GRIMM FAIRY TALES MYTHS & LEGENDS QUARTERLY: BLOOD PHARAOH follows a fairly standard Mummy-style plot but excels at creating a villain with gobs of future potential for the Grimm Universe. The plot makes sense and hits all the right beats, but the clunky dialog in the first section of the book is ponderous. That said, the art is great and the ending leaves the door open for plenty of storytelling potential.
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NECRONOMICON (ONE-SHOT) gives readers a frightening history lesson on the creation of the Necronomicon in the past while delivering a frantic battle in the present to reclaim the book from the King in Yellow. Lovecraft and Holmes have good chemistry that should work for future adventures, and the art is mostly good.
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NIGHT OF THE CADILLACS #2 is an intriguing display of West Coast art styles and gangs with a story thats a strange mix of scifi and vampire horror. The plot still feels like its in setup mode, but the pieces moving into position are striking enough to keep you dazzled, even if the story hasnt quite come together yet.
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NINJA WORLD JAPAN #3 is a solid entry by a new publisher to the manga market with a title geared towards Western reading style. The art and general story are authentic to the manga reading experience, but the plot and art lack the emotional punch to hook the reader fully. This title may take a few more issues (chapters?) to win audiences over.
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NINJAK #3 takes the trope of the spy list released to the public and adds in some unexpected-yet-welcome science fiction to raise the threat level on this uneven series. The art is still a bizarre mismatch for the source material as a traditional comic, but it makes for a more enjoyable read when viewed through the lens of an old video game.
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NINJAK #4 ends the first arc in this larger story with a to be continued rather than a definitive ending. The art jarringly shifts from one artist to another for an improved, albeit uneven, reading experience while the writing offers up the most compelling entry in the series so far. Valiants preview information and the solicit description cast the future of Ninjak in doubt, so well see what 2022 holds for the MI-6 cybernetic ninja assassin.
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NOTTINGHAM #5 concludes the arc with a vicious battle where no one walks away unscathed. The conclusion is satisfying enough, but it needed a little more wow factor to live up to the previous issue.
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NYX #3 continues the story of Nyx trying to find her place in the world to live a normal life. The art is fine, and the shenanigans that happen when Nyx reaches out to Vampirella for help are amusing, but the story doesnt feel like it has a direction yet. If the goal is to have a series that grows and evolves the character, something important needs to happen to get things moving.
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OSWALD AND THE STAR-CHASER #1 kicks off a mildly amusing space adventure about a self-proclaimed, bungling, incompetent space knight who sets out to take down the evil king. The cast of characters is amusing, and the artwork is solid, but its yet to be determined if this story has more to offer than a slightly silly setup.
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OZ ANNUAL: PATCHWORK GIRL takes a simple story about capturing a dangerous escaped criminal and turns it into a character study about finding the courage to make hard choices. The art varies wildly, but the editors make it work for the story.
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PELLUCIDAR: ACROSS SAVAGE SEAS #3 is an informative issue that builds the world, moves the players in place for the finale, and ends on a strong cliffhanger. The art is gorgeous, and plenty of things happen, however, the sheer volume of dialog and narration slows several pages to a crawl.
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POOH VS. BAMBI #2 shifts from a man-on-the-run story to a retired soldier enlisted to rescue an old friend. Noah Mitchell's story is a pleasing throwback to sweaty action films of the 1980s, and the art is fantastic. That said, the opening scenes suffer from wall-of-text exposition.
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POP-UP #4 delivered a thrilling conclusion to a unique horror concept. The story held weight, the ending resonated, and the potential for future adventures piqued our interest. However, the artworks shortcomings during action scenes prevented it from reaching its full potential.
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POTIONS INC. #4 is a solid penultimate issue heading into the finale. The character work is excellent, the stakes rise considerably, and Rans status quo gets a shakeup. However, the weak art dampens the overall quality.
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PROMETHEUS IN CHAINS #1 delivers a modern spin on the classic Frankenstein tale with a man who goes to extraordinary lengths to eliminate his grief for his deceased wife. The weight of pain and regret is palpable, and the unique twist on Vicor's motivations turns him into a tragic yet relatable character. However, Frankenstein fans may find this issue a little too similar to the source material.
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PURGATORI (VOL. 2) #3 reveals the intentions behind the covens ritual and the threat it poses to Purgatori and the world. The writing flow could intentionally be confusing to reflect Purgatoris mental state but the reading experience is a little too close to confusing for comfort. The art style is just okay but the lack of detail in the backgrounds make most of the panels feel small and flat.
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PURGATORI (VOL. 2) #5 is a decent issue capping a decent arc. The art is above average for digital work, and Purgatoris personality is positively magnetic, but the final victory came too quickly and easily, making it feel a little cheap.
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RED SONJA (VOL. 5) #24, available from Dynamite Comics on February 24th, 2021, is a sometimes sweet, sometimes funny capper to the current arc. While there's not enough story to warrant a full issue, the writing and art are all well done.
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RED SONJA (VOL. 5) #25, available from Dynamite Comics on March 24th, 2021, plays on the myth of Red Sonja by showing two skeptics her legend is more real than not. The art is good, albeit too muted in the color department. And the backup story is colorful, energetic fun.
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RED SONJA (VOL. 6) #2 is a kinder, gentler entry in the crimson-haired She-Devils latest adventure. Theres still plenty of action and intrigue to hold the readers attention but we get a rare opportunity to see the steely warrior still has a heart. Unfortunately, the exceptional writing is paired with less than exceptional art, and the overall quality suffers from rushed, unfinished visuals.
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RED SONJA (VOL. 7) #3 increases the stakes and the threat level when Thord Vargs army assembles to invade Velanger. Red Sonja is in peak fighting form, and the dark magic surrounding the conflict is intriguing, but the lack of information about the narrator is becoming an increasing distraction.
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RED SONJA / HELL SONJA #2 sends the protagonists on a whirlwind tour of their deepest fears and secrets turned to horror. The visions are written well and presented with grotesque art (in a good way), but the metaphors behind the visions are sometimes confusing.
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RED SONJA: BLACK, WHITE, RED #4 is a solid, middle-of-the-road entry in the anthology series with three, solid, middle-of-the-road stories. The standout short goes to Phillip Kennedy Johnsons depiction of a feeble, old Queen Sonja remembering her roots and returning to her former glory.
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RED SONJA: BLACK, WHITE, RED #7 is another fine entry in the series with three tales showcasing unique adventures for Red Sonja. Contrary to typical anthologies, there isnt a lemon in the bunch, but the overall art is stronger than the inconsistent writing.
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RED SONJA: RED SITHA #1 is a serviceable first issue following the (mis)adventures of Little Sitha all grown up. The writing is well-paced and the dialog is generally good, but the main character is nothing like the character on which shes based. As far as spinoff stores go, this is fine but its going to be an uphill climb to keep readers interested.
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RED SONJA: RED SITHA #3 is a serviceable-to-amusing entry in the series that puts the Kinn demon and the sidekicks at the heart of the plot. By relegating the largely uninteresting Red Sitha to a background character, the issue is somehow more engaging. Its uncertain how this adventure will play out, but it least this issue is good for a chuckle or two.
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RED SONJA: THE SUPERPOWERS #3, available from Dynamite Comics on March 10th, 2021, is filled with great art, great action, but a thin story. Admittedly, the conclusion is satisfying, and the final page sets up much bigger and more exciting things to come.
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REDSHIFT #2 crafts a meaningful and emotional space drama set against the backdrop of Mars. Helleners journey of doubt and consequences leads him on an uncertain path thats worth the read. However, the facial art inconsistency and awkward scene transitions mar the reading experience.
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Rise of Dracula #6 like the series, is a world-ending, heart-wrenching end to the story and humanity. There are more weighty ideas and concepts in this last issue than most any title on the market. However, the sheer volume of ideas is also this issues biggest hindrance due to lack of clarity and mismatched pacing.
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ROBOTECH: RICK HUNTER #2 expands the history and character details of one of the more famous Robotech characters while the Pegasus Squadron continues its mission to hunt down rogue Zentraedi. The character-building is a treat for longtime RoboTech fans, and the art is solid, but new or casual readers may be bored with this issue.
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ROBYN HOOD: VOODOO DAWN, available from Zenescope Entertainment on May 19th, 2021, is a solid, standard adventure story that's most notable for carrying over the Voodoo theme from other comics in the Zenescope library. The art is typical Zenescope quality, and the ending is satisfying enough.
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ROBYN HOOD: HELLFIRE is a setup one-shot that establishes characters and conflict for later stories which are more interesting than the setup itself. The art is serviceable and the plot is certainly unique, but the end result is little more than an extended prologue.
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ROBYN HOOD ANNUAL: CHILDREN OF DARKNESS is an average annual from Zenescope with plenty of big, magical action and status quo updates, but the titular character takes a backseat in her own book, and the focal character isnt very interesting. If youre into great art and great magical action, this is a tentative recommendation.
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ROBYN HOOD: IRON MAIDEN #2 concludes the story arc with enemies turned tentative allies and a world-class creep put out of commission for good. The art is consistently excellent, and except for the out-of-place character turn midway through, the writing holds attention in a high-pace chase story.
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SACRED SIX #7, available from Dynamite Comics on February 17th, 2021, teaches you a lot about Nyx, brings Draculina up to speed, a brings a dangerous new player into town. This is a nice breather issue to bring new readers on board, but not a lot happens. Still, the art is great and the arc is moving in the right direction for a clear, engaging story.
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SACRED SIX #11 ties up some loose thread to bring all the heroes together for the final showdown with Leviticus. The switch in art style is a pleasant change, and the story has improved focus over the previous issue.
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SAMURAI SONJA #1 is a serviceable introduction to another Sonja from across the multiverse. The specific elements of feudal Japan feel well-researched and authentic, and the line work is excellent. However, the colors are very flat, and the origin story is too similar to Red Sonjas to feel like anything more than a reskin.
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SAMURAI SONJA #4 is one of the better issues in the series with excellent art and solid character-building. However, the ethereal nature of the battle and the ambiguous resolution were hard to follow.
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SAMURAI SONJA #5 is a solid and reasonably satisfying end to one of the more intriguing versions of Red Sonja from across the multiverse. The action is energetic, the flashback to the villains origin is interesting, albeit presented too late to be helpful, and the final battle is well done.
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SANCTION #4 continues to increase the pace and the threat level when the serial killer's capture is just the start of Boris and Pavel's problems. Ray Fawkes expertly envelopes the reader in a dreading sense of paranoia concerning a potential conspiracy, and Antonio Fuso's stylized art captures the spirit of cold isolation.
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SAVAGE RED SONJA #2 significantly improves on the first issue with consequences, stakes, and the promise of trouble in the future. Panosians story has the benefit of letting the art tell part of the story for a richer comic storytelling experience. That said, Panosians voice for Red Sonja feels off, and the art lacks detail.
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SCARLETT COUTURE: THE MUNICH FILE #1 is a high-octane, non-stop action fest to get your blood pumping. Taylors pacing is impressive, and the plot development will have you on the edge of your seat. That said, new readers will be lost without having read the prior arc, and Taylors animated art style is an odd fit for the gritty script.
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SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #10 ends the volume with a fast-paced, pulpy adventure that doesnt stop to take a breath. The wow moments are exciting, but the ending feels rushed, and the setup that started the adventure is left completely unresolved.
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SHEENA: QUEEN OF THE JUNGLE FATAL EXAMS #2 raises the stakes and the body count when Sheenas investigation crosses ruthless killers. The mystery is still a complete blank, but the scope of the conspiracy is growing, and the danger puts everyone, including innocents, at risk.
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SHOWS END: THE SECOND COMING #5 ends the arc with a climactic battle that feels epic in scope and consequences. The art is solid, and almost all characters receive a new status quo, but the way the battle ends is not quite clear.
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SIRENS GATE #3 answers many of the questions introduced in the first few issues with a lot of exposition and dialog but not much else. The stylized art is fine for what it is, albeit very stiff, and the story has potential, so this is a tentative recommendation.
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SONJAVERSAL #9 takes a turn visiting Blue Sonjas universe where her gun-toting, hard-drinking ways pit her against a cadre of supervillains escaped from Hell. The story is engaging and the art is stellar, but the last act of the story awkwardly trips over itself to get to the ending.
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SONJAVERSAL #10 is a trippy issue that answers many of the lingering questions around what Hell Sonja is really up to. The issue is a soft conclusion to the arc that establishes another new status quo leading into the forthcoming Hell Sonja series. While the last several issues have established the characters well going into the next series, its not quite clear where the story is headed.
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SPAWN #346 takes a pause in a setup issue that aligns the competing forces for master strokes that could end the war one way or another. The strategic maneuvering could have game-changing consequences for the future, and the art looks great, but the amount of setup defers all the satisfying payoff to a future issue.
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SPEED REPUBLIC #1 begins a new ear in dystopian speed races against the backdrop of a future Europe on the verge of collapse. The traps are inventive, the backstory of the main character is dramatic and emotional, but the race lacks flair and the stakes are not clear. This issue is not the strongest debut but it has potential.
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STARFINDER: ANGELS OF THE DRIFT #5 deliversgreat action, pacing, and the sense of a grand, epic story, while undersocring the potential difficulty for readers unfamiliar with the RPG context
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SUICIDE JOCKEYS #3 has all the makings of a heartfelt, emotionally stirring issue about the choices we make and how we live with them. However, the emotional impact of the main characters decisions is muted by his sheer unlikability. All the components are present, including some outstanding art, but the main character is too offputting to root for.
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SWEETIE: CANDY VIGILANTE #1 is a creative vision for a new type of killer vigilante with solid art, including gory action. However, the setup is too sparse to understand much about the character other than she gets a kick out of killing naughty people. Intriguing idea but shallow execution.
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SWEETIE: CANDY VIGILANTE #2 makes the odd move of presenting itself as an exposition issue that will answer all your questions but answers precious few. Candy Wolfs addition to the cast is intriguing, and the art is generally good, but its unclear yet if this series is a keeper.
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SWEETIE: CANDY VIGILANTE #3 dispels all the mystery surrounding Sweeties origin with a massive amount of exposition, turning this third issue into an illustrated novella. Thats not necessarily a flaw, as the urban fantasy fairytale is creative and interesting. However, the dialog/narration has a few rough spots, which hinders the reading enjoyment.
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THE ACCURSED #2 presents a clear picture of the Starking family legacy wrapped in a high-seas adventure of Kaiju-sized proportions. The lore built around this story is intriguing enough to explore further, and the action is thrilling.
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THE AGENT #2 is a promising comic with intriguing potential. We appreciate the exploration of a magical world existing beneath the surface of our own and the development of Rhym and Sebastians characters. However, the overly vague mystery elements could become frustrating if not addressed in future issues.
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THE BALLAD OF RONAN #1 is a fine first issue in a YA-ish series about a teenager striking out on her own to search for a family connection. The writing is good, but a few moments were redundant to developing the main character, leaving less room for plot development. The writing tone falls into the YA camp, and the art style matches that tone perfectly.
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THE BLACK-JACK DEMON #1 is a simple tale of revenge in the Old West with a supernatural twist. The pacing is good, the art is better, and you can clearly see where the story is headed in the next issue.
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THE BOX #1 is a promising start to an urban fantasy about a magic box. Despite the uneven story and stylized art, this arc has the potential for imaginative fun and games.
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THE DEVIL THAT WEARS MY FACE #6 ends the miniseries with an action-packed, bloody fight between a trio of believers and the demonic Legion. Pepose and Cormack keep the energy high, the drama intense, and the conclusion somewhat satisfying. That said, an out-of-nowhere revelation about Father Vieri that makes the ending possible is a head scratcher.
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THE HEXILES #2 continues the trial of the Kreel siblings when the demonic forces send them a clear, strong message that they can't escape. Bullen's script starts slow but picks up speed in the latter half, and Joe Bocardo's art is splatter-ific.
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THE INVINCIBLE RED SONJA #7 transitions from the finale of the originally-intended arc to an ongoing series with a story that lightly sets up the new status quo and direction for all the survivors of Brelaqs madness. The art is back up to the standards set in issue #1, and the transition from one arc to the next works well enough, but this is a soft issue that doesnt do much to grab your attention.
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THE MIGHTY BARBARIANS #4 packs in plenty of sword-slashing, demon-killing adventure to get your blood pumping. But the battle feels small, and the plot feels more like a setup than a story.
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THE MOON MAID: THE THREE KEYS #3 ties up all the loose ends for a complete, entertaining, and largely satisfying story. The art is great, and although there was a little too much to pack into one issue, this was a satisfying series overall.
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THE NINJETTES (VOL. 2) #3 continues the murderous, bloody chaos as the field of competitors whittles down to a handful. The killing ingenuity is clever, Van Lentes character work is outstanding, and the art is spot-on for an exploitation comic.
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THE OBLIVION TRIALS #1 is an above-average first issue about a series of tragedies that leads to a troubled man making a dangerous choice. The art is excellent, the pacing is (very) high, and the premise is creative. However, the issue suffers from odd tonal inconsistencies in the main character, and the pacing is so high that the dramatic elements dont have time to breathe.
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THE OBLIVION TRIALS #2 is a high-energy read with plenty of traps and enemies lurking around every corner. The energy is high, the action is kinetic, and the story feels like its moving in a particular direction. However, Kikos direction lacks a clear destination, and the flat coloring dampens the energy of the action.
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THE OBLIVION TRIALS #3 is an above-average entry in the series with great character development and interesting foreshadowing. That said, the escape from the cave was too easy/forced, so the new development afterward comes off as unearned.
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SCORCHED #22 elevates She-Spawn as an unstoppable badass whos more than able to put Terminus in his place. The art and action are first-rate, but the series seems to have lost its direction and purpose.
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THE TIGERS TONGUE #2s complex themes of Fate versus practicality make this comic and intriguing parable in the same vain as many Biblical stories. The emotions, assumptions, and complications of the trials keep the story wholly unpredictable, but the art is serviceable at best.
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THE VALLEY OF DEATH #1 kicks off a mysterious tale of terror about a man chased by monsters in the woods. Rommel successfully creates a tension-filled atmosphere of panic and fear, and Schwandts art is some of the strongest weve seen from him.
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THE WORLD OF TOMORROW #1 delivers a cinematic-yet-grounded story of an aging television actor who hits rock bottom. Clarkes character development is as immaculate as Halilovis art, but the first issue strangely lacks a hook to keep reading.
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TOM HOLLANDS FRIGHT NIGHT #1 picks up where the 1985 hit film left off. The creators have crafted a new story that reveals the film is only part of the tale. The writing is sincere and wisely respects the source material, and the characters are all present but with a slightly different voice to reflect the fresh take. That said, the art passes hands multiple times with styles that dont complement each other well for a distracting visual experience.
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UNBORN #4 brings the arc to a close with a desperate battle against a giant monster, a heartfelt retelling of a troubled childhood made whole, and alien tropes galore. The big action is big albeit a bit silly, the log history is emotionally powerful albeit not a comic, and the ending gets the job done albeit in a clich manner. In all, this is a serviceable end to a decent science fiction story.
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UNDER THE INFLUENCE #2 escalates Agent Coles risk of exposure and opens the door for a deadly development in the Hot Dog Partys evolution. Rahals script sandwiches a dry explanation of Influencer culture between a wow beginning and a wow ending, but the middle drags a bit. Simeones art lacks detail but makes up for it with high-energy and strong emotion.
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VAMPIRELLA (VOL. 5) #19, available from Dynamite Comics on May 5th, 2021, plays Vampirella for a fool by revealing she was part of her mother's evil plan all along. The art is consistent for this series, and the writing has settled into a fast-paced groove.
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VAMPIRELLA (VOL. 5) #23 shifts focus away from conflicting timelines to a story about a special boy who just may be the second coming of Dracula. Compared to the previous issues, the art is better and the storytelling is a tad more linear, but it remains to be seen if Priest can pull it all together.
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VAMPIRELLA/DRACULA: RAGE #3 delivers a gritty, desperate revenge tale wherein Vampirella hunts down everyone responsible for her babys death. Christopher Priests plot is uncharacteristically clear, and Rosados grim art brims with drama and suspense.
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VAMPIRELLA/DRACULA: UNHOLY #1 kicks off a new arc following up from the last Vampirella volume with Ella married to the man who could be reborn as Dracula and their mission to stop the worst case scenario from happening. Priests writing style is consistently chaotic, which may be an acquired taste for some, and the new artist on the team has a solid eye for gritty designs, albeit a little too gritty in spots.
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VAMPIRELLA VERSUS PURGATORI #5 saves the world with a small status quo change to set up future stories. The time travel aspect added some confusing complexity but it all worked out in the end.
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VAMPIRELLA: MINDWARP #1 is a solid start to a new adventure with plenty of magic, monsters, and a trippy cliffhanger that evokes the spirit of the classic Warren stories. The writing and art are generally good, despite a little clunky execution in both areas in the first act.
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VAMPIRELLA: MINDWARP #4 keeps the energy, action, and urgency permanently set to Mellow as Vampirellas party moves from a party train to a mountaintop chateau to stop the Baronesss evil plan. The pacing is good, and the dialog is solid, but the low stakes, mellow energy, and lack of urgency keep the reading experience mildly pleasant.
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VAMPIRELLA: YEAR ONE #1 is a clean, clear introduction to Vampirellas childhood years as a princess on an alien world on the verge of collapse. The character introductions are efficient and clear, and the mood of a world on the verge of starvation is everpresent. That said, the story doesnt have a solid hook to grab you, and the static art style is not everyones cup of tea.
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VAN HELSING: INVISIBLE WOMAN isone of the better examples of using a multiverse concept to introduce new villains and more stories. The art is excellent, and the general story is goo, but the villains motivations make little sense.
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VAN HELSING: FROM THE DEPTHS is a gorgeous creature feature that adds depth and a new motivation to the character of Liesel van Helsing. That said, Liesels inner-monologue narration drags the pacing to a crawl.
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VANITY #1 is an interesting take on one of the worlds most infamous characters. The writing infuses the subject with authenticity and an air of accuracy while maintaining plenty of drama and creepiness to hold your attention. The art supplies plenty of dramatic shadows and gloom to match the setting, but the indie style may look too rough for some tastes. This is a solid recommendation.
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VENGEANCE OF VAMPIRELLA #17, available from Dynamite Comics on April 21st, 2021, has excellent art and good writing. The issue could benefit from building more anticipation for the finale, but it gets all the players where they need to go.
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WHITE LILY #3, available from Red 5 Comics on May 12th, 2021, is an interesting take on a little-explored corner of history. The issue has strong art, strong colors, perfect lettering, and a visually interesting look. If the creators can get the awkward dialog straightened out, this series will be a keeper.
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WHITE RIVER MONSTER #2 cranks up the mystery and the gore when the local townsfolk take extreme steps to keep the monsters presence a secret. Rommels tale improves on the first issue at every level, and this comic represents the best weve seen of Schwandts artwork.
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WOLVENHEART #10 is a sound entry in the series with momentum building towards an epic showdown in Rome. The main plot has more room to breathe in this issue and the character designs are excellent. That said, the list of characters is getting too long to follow, and the art needs work integrating characters into the backgrounds.
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WOLVENHEART #13 is a solid, penultimate issue in the current volume, laden with character depth and emotion. Theres plenty of action and plot movement to set up the big finale in the next issue. The down point is the lack of movement in the fight choreography and the characters faces, resulting in flat visuals.
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X-O-MANOWAR #8 fills in the blanks about Shanharas whereabouts for the last few issues and puts Desmond at the center of a city under complete control of a nanite swarm. The arts great, and the large amounts of exposition are satisfying enough, but the motivation behind the villain remains a mystery.
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X-O MANOWAR: UNCONQUERED #1 begins a new, epic adventure when Aric comes under attack from a space warlord wanting to claim Arics armor. The art is jaw-dropping, and the threat feels big, but longtime X-O fans may find Arics voice and personality an odd departure from the norm.
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YUKI VS. PANDA #2 is filled with colorful, enjoyable art and some strong moments of character development. That said, the plot development is a little thin and needs to make more significant progress in the next issue.
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ENGINEWARD #5 takes a big step forward in pace and plot to make for a more engaging story. The reveals are all satisfying and the art is generally solid. This is a recommended buy.
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GIGA #1 does an excellent job setting up a unique world to explore. Despite the lack of a strong hook, the story fleshes out the main character very well and the art team accomplishes the daunting task of creating a future world that looks wholly lived in.
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HELLFIGHTER QUIN #5 brings the series to an exciting, fun and at times, thought-provoking finale. The story ties up all the loose ends in a satisfying way while still leaving room for future adventure, and the art team continues to grow and deliver solid work. I would recommend the entire 5-issue run for comics lovers looking for some creative adventure.
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IRON MAN #2 has great action and fantastic art but fails to build on the story potential from the first issue.
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DEATH OF NANCY DREW #1 gives the reader a taste of classic detective mystery in a modern setting. The story is well written, and both the coloring and lettering compliment the story well. With a few tweaks to the shadows in the artwork, this is set to be a top-notch detective story.
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STARSHIP DOWN #1 uses a classic SciFi setup to begin its story. There's potential if Giampaoli can introduce something fresh in the next issue, but not much to get excited about so far.
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STILLWATER #3 improves on the prior issues with some answers and some humor. If you're a fan of the series up to this point, this issue will give you more to like.
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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.
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SACRED SIX #6, available from Dynamite Comics on January 27th, 2021, shuts the door (…err, gate?) on Vampirella's quest to finally go home to Drakulon. The issue is filled with gory, bloody, dramatic art. The story makes progress heading into the finale next issue, but the narrative flow is jumpy and inconsistent which may be a barrier to your reading enjoyment.
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DECORUM #5, is a fast and amusing read for an issue of its size. The art is more relatable than previous issues, and the violence is cocooned in plenty of dark humor. If you're a fan of Tynion's writing, this book is worth your time.
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JAMES BOND #4 is a solid story about our favorite super spy tracking down terrorists who use the art world as a cover operation.. The story is enjoyable enough but hindered but several minor and a couple of major structural stumbles.
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MAN GOAT & THE BUNNYMAN: BEWARE THE PIGMAN #1 sets Phil and Floyd on a mission to rescue Pigman from his service to Baphomet. Joe Brusha lays a solid foundation for the world's weirdest cryptid heroes, and Jordi Perez's art is generally solid. That said, Brusha's plot pacing is a bit uneven, and Perez's art is lacking in the finer details.
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NINJAS & ROBOTS #1 is imaginative, fun, and chock full of energy. There are gobs of potential with some fine-tuning. I'm looking forward to the next issue.
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STILLWATER #2 efficiently answers the first issue's questions and establishes several points of conflict for the series to come. Despite a largely predictable plot, the art is strong from the entire team. This is only a mild recommend.
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THE AGENT #4 offers intriguing world development and insights into the magical systems of Mathieu Gabellas universe. The sense of urgency created by the ticking clock of the terrorist plot adds tension to the narrative. However, the rapid pacing and lack of fully realized plot elements detract from the overall experience, leaving some aspects feeling incomplete.
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VAMPIRELLA: DARK REFLECTIONS #3 is another solid entry in the series that pits Lilith and Vampirella against a monstrous queen. Sniegoski and Acheson show exactly how to produce multiverse stories the right way with a post-apocalyptic tale of loss, rebellion, and war. That said, it helps greatly if you read the Vampiverse series before you get lost, and the art is just serviceable.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.,
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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.
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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.
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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.
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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.
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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.
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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.
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CHAMBER OF TERROR #1 is a bloody feather in the cap of the 2021 Halloween season. Every entry in this anthology has something interesting to offer, centering on some variation of demonic evil. While the quality varies wildly from story to story, the collection as a whole is worth a look.
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CHERISH #5 ends the arc with a convoluted pop instead of a bang. Collins swings for the fences with twists and turns on every page, but the volume of surprises quickly becomes messy and confusing. Combined with just average art, this finale is a mild pick.
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CINDERELLA VS. THE QUEEN OF HEARTS #1 is an odd start to an odd start starring an odd character. The premise about a crazy (former) princess turning hitwoman to make ends meet has potential, but the main character is so grating, it's hard to get into the story.
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CINDERELLA VS THE QUEEN OF HEARTS #2 brings the crazy with crazy fights, crazy violence, and crazy killers. The art looks great, and if you're only interested in action, this comic has plenty. Unfortunately, the main character only has one personality trait crazy, and it makes for a tedious, annoying character.
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COVER OF DARKNESS #5 is a significant improvement over the previous issue with cool monster origins and a glimpse into how the previous issues will start to tie together. That said, the creators try to cram in too many scenes all at once without any connective tissue, making for a chaotic reading experience.
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COVER OF DARKNESS: ORIGINS #1 takes the most compelling aspect of the Cover of Darkness series (the origin stories) and creates an anthology that does more of what we love. The twists on familiar characters are interesting, and the overall art quality is very good, however, some shorts are weaker than others.
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CRUSADER #3 gives readers all the bloody action you can handle when Pilgrim hacks and slashes his way through Meridians men. The swordplay is fast-paced and exciting, and Emmonss hyper-stylized art gets the job done, but you have to suspend more than a little disbelief to make the action work.
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DARKLAND #3 revs up the monster madness and sci-fi shenanigans as the hunt for Rose turns deadly. That said, the plot is missing a critical piece of motivation, and the issue ends with a hard left that doesnt make any sense.
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DARKWING DUCK #3 amusingly explores Drake Mallards life as a retired superhero while the citizens of St. Canard grapple with evil threats. The individual scenes are largely entertaining, and the idea of Drake trying to fit in as a civilian is a fresh take on the character, but the plot feels disjointed and confusing at times.
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DARKWING DUCK #5 gives readers two villains for the price of one, with excellent art and plenty of Darkwing hijinks. That said, two villains may be too much for the page count as the script (and action) feels rushed.
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DARKWING DUCK #10 brings the DWs latest adventure, and the series, to a close with undersea adventure, character growth for the Duck Who Flaps In The Night, and a new villain. Deibert wraps up all the loose ends, and Lauros Disney style looks great, but the ending feels exceptionally rushed.
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DEAD DETECTIVE #1 is curiosity-inducing concept about two Detroit Detectives separated by death when they interrupt a murder cults ritual. Jansens art is impressively detailed, and Heyokas script has potential, but the issue stops short of hooking you.
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DEAD DETECTIVE #3 s a mixed bag. The world-building and character interactions are entertaining, but the lack of a clear plot direction holds it back.
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DICK TRACY #2 widens the scope and scale of Dick Tracy's investigation into a murder, leading to corruption, conspiracies, and the possible start of a gang war. Moreci and Segura deliver a proper detective noir story buoyed by Borges's shadowy art. However, the artwork lacks the character exaggerations that are a hallmark of a Dick Tracy comic, and a strange plot hole takes you out of the middle of the story.
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DIE!namite #4, available from Dynamite comics on January 27th, 2021, runs readers here, there, and everywhere with nary a moment to catch a breath. While the issue is full of non-stop energy, the rapid pace breezes right by deaths and impactful moments that need a little time to be felt. Still, it's good art and plenty of forward progress, so it's a solid recommendation.
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DIE!NAMITE NEVER DIES! #5 is an above-average finale for a wild and crazy story. The conclusion wraps up the current conflict while leaving room for more. The art is generally good, and the energy could light up a small city. However, the frenetic developments sometimes devolve into chaos in both the writing and the art.
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DRACULA, MOTHERF**KER! hits all the right notes for fans of 70's horror, but incomplete story structure and uneven art keep it from being great. If you can overlook the rough spots, you'll enjoy it. This book is a guarded recommend.
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DRACULINA #4 increasingly defies explanation as Priest crosses time, space, and reality in every conceivable way. Just when you thought you figured it out, Priest warps everything again to keep you on your toes. You may not be able to follow the story, but you can at least respect its unparalleled creativity and gorgeous art.
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DRAGON WHISPERER (VOL. 2) #3 is a strangely disjointed issue with more setup than plot progression. In fairness, the setup readers get is very good, but it feels like the finale will have to rush through a lot to get this penultimate issue to pay off. Regardless, the art is super clean, colorful, and appealing.
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EMPATH #1 premiers a new superhero with a unique superpower. Hawkins delivers a decent script that ticks all the boxes in terms of pacing dialog, and plot, and Caritas inventive art helps visualize an esoteric concept.
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EXORCISTS NEVER DIE #6 concludes the thought-provoking mini-series with big fights, big saves, and a predictable finish. The ending gets the job done, but the unique, meta twist is absent, and Prizs art is excellent.
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FICTIONAUTS #3 ends as an interesting thought experiment with plenty of cool concepts and ideas. However, the creators overstuff each issue with so many pieces of fiction and disconnected ideas that the main throughline of the story tends to get lost in the noise. Regardless, the arc ends with a decent explanation of whats going on and leaves room for (hopefully, cleaner) exploration in the future.
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G.I. JOE #1 is a perfectly serviceable start to the Energon Universe's version of G. I. Joe. Joshua Williamson leans heavily on introductions and setup, which existing Energon readers may find redundant, but the setup works well enough. Tom Reilly's art is rock-solid, but it's hindered by Jordie Bellaire's off-putting coloring style.
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GEORGE R.R. MARTIN'S A CLASH OF KINGS (VOL. 2) #11, available from Dynamite Comics on February 24th, 2021, uses strong art and herculean pacing to give readers a true sense of desperation for Theon and some much-needed progress on Khaleesi's quest. This is a solid recommendation for Game of Thrones fans.
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GEORGE R.R. MARTIN'S A CLASH OF KINGS (VOL. 2) #12, available from Dynamite Comics on April 14th, 2021, does its level best to capture one of the most explosive moments in Game of Thrones canon. For its part, the art is very good, and despite the overly dense wording, the story captures the milestone moment well.
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GARGOYLES #3 ends the first act (not arc) of the run with a battle to save an innocent mother and child from the ruthless hands of Thailog. Weismans script packs in plenty of energy and plot movement, but the battles conclusion is unsatisfying, and the fight choreography is a shambles.
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GARGOYLES #11 ends the kidnapping, starts the hunt for Dino Dracon, and gives Goliath a surprising new status quo. George Kambadaiss art style is a good fit for animation adaptations, and Weismans soap opera script gives readers plenty of twists and turns, but there are too many spots where the script and art are a mass of harried confusion.
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GENECY #1 takes the classic heros journey to the next level with massive space battles, ancient gods of power, and a hero that fits the mold in every conceivable way. The art is well above average for an indie title, and the sheer scope of world-building is massive. That said, the first half of the book is too sparse with context and introductions for readers to get a proper handle on the story.
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GET IN THE GAME, available from Source Point Press on April 28th, 2021, runs the gauntlet from shoot-em-up action to deep topics such as terminal illness and suicide. The art is a diverse as the stories, so there's a fair chance there's at least one story to appeal to everyone.
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GRIMM FAIRY TALES (VOL. 2) #54 ends the adventures in the cyberpunk universe with a desperate battle against the Spider Queen for control of the world. The story wraps with a satisfying conclusion that leads to the next multiverse hop, and there are plenty of big stakes happening, but the action felt too small for the gravity of events that occurred. Visually, the issue looks great, but big happenings need dramatic visuals, and on this point, the issue is lacking.
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GRIMM FAIRY TALES (VOL. 2) #55 drops Skye and Julia into the next, novel universe for an interesting amalgam of classic gangster hijinx and monsters. The art is decent enough and the story gets the job done, but the universe of the month model is starting to feel formulaic.
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GRIMM FAIRY TALES (VOL. 2) #60 has plenty of colorful action, solid dialog, and genuine stakes, but the main plot with Skye and Julia is a rehash of the same story retold multiple times in this arc. Shangs efforts carry the story, and thats too much weight to bear for a supporting character in a B Plot.
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GRIMM FAIRY TALES (VOL. 2) #65 is a treat for folks who love the Grimm Universe and Lovecraft stories with a plot that brings the Dunwich Horror to life as a formidable enemy. The pacing is exceptionally high for the amount of material without losing a bit of clarity or creating a feeling that the story was rushed. The art is serviceable, but the combination of inks and colors frequently looks sloppy.
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GRIMM FAIRY TALES (VOL. 2) #68 brings the world to the brink of destruction as Baba Yagas plan enters its final phase. The writing is decent enough, and the art is serviceable, but the overall plot of the arc has started to become generic, and the art quality is not Zenescopes best.
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GRIMM FAIRY TALES (VOL. 2) #69 moves the series back into the Lovecraftian theme of the arc, and big developments align the players for even bigger conflicts to come. The writing execution and panel composition are solid, but the deaths lack weight, and the pencils/inks are subpar.
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GRIMM FAIRY TALES (VOL. 2) #70 gives you plenty of bang for your buck with witches, Lovecraftian monsters, black voids of insanity, and a growing threat to life as we know it. That said, the story increasingly lacks focus, particularly with the villains, and the art quality falls short.
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GRIMM FAIRY TALES (VOL. 2) #75 brings the Year of Lovecraft to a close with a massive battle at the Mountains of Madness to stop Dagon from freeing Cthulhu. The action is energetic, and the pacing is high, but the battle is generic, and the art is inconsistent.
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GRIMM FAIRY TALES (VOL. 2) #80 starts with a decent premise, but the execution stumbles. While the new mystery and the Skye-Mystere team-up are interesting, the pacing drags, and the artwork remains uninspired. Its not terrible, but its far from Zenescopes best.
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GRIMM SPOTLIGHT: CINDERELLA VS. ZOMBIES is full of zombies, flying organs, blood-splattering, and more than a few scathing pokes at Hollywood and the zombie genre as a whole. The art is a perfect match for this type of story, and the humor mostly hits, but the main character is a little too unlikable to get behind or root for.
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GRIMM SPOTLIGHT: HERCULES PAYNE VS. THE SCORPION QUEEN is filled with great art, great action, and an imaginative blending of multiple stories for something wholly unique, despite an impossibly hard to swallow conclusion, the ending has the potential for more interesting stories to come.
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GRIMM TALES OF TERROR QUARTERLY: BACHELORETTE PARTY explores what happens when the excesses and vices of a Vegas-style bachelorette party take an accidental turn into the supernatural. The art is good, the kernel of the story is better, but theres just not enough substance to fill 72 pages.
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GRIMM TALES OF TERROR QUARTERLY: 2023 HALLOWEEN SPECIAL presents a cavalcade of ironic tales about guests in a haunted mansion that caters to fans of famous serial killers. Fans of slasher stories will have a ball, but the stories are generally predictable.
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GYRFALCON: CALAMITY AFTERMATH, available on ComiXology on January 6th, 2021, is a fun throwback to Silver Age comics. Despite the flat art and verbose pacing problems, this is an entertaining comic for the price.
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THE HARBINGER #6 is a serviceable entry with decent action, notable plot progression, and generally good art. That said, the characters are almost entirely devoid of emotion to draw the reader in, and while the coloring is improved over the prior issues, the excessive pinks and purples contribute to the neutral mood.
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HAUNTED HOUSE: A LOVE STORY #6 concludes the series on a positive and hopeful note, emphasizing themes of acceptance and self-love. While the ending may feel subdued compared to the buildup, it aligns well with the overall tone of the series. Despite some shortcomings in character design, the issue earns a solid score.
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The concepts and ideas behind HELL SONJA #3 are creative, but the technobabble speak eventually started to sound like gibberish, making it hard to follow whats going on. Regardless, you eventually figure out where the story is going, and the epilogue ending promises interesting challenges are coming together in the background. Big kudos go to the art team for grounding the story when the dialog is off into left field.
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HEXPAW: LEFT HAND OF THE DEVIL #1 is a weird, wild, psychedelic, satirical homage to 60s pop culture, Italian crime thrillers, classic horror films, and more. Markwarts art nails the 60s aesthetic, and the script is impossibly imaginative. That said, the script, while not rushed, is incredibly busy.
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HOAN OF ORCS #2 excels at building up the legend of Hoan as the savior of her people who hears voices in her head. Hoan's character development is complex, but the dialog and scene transitions are often jarring and confusing.
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HOAN OF ORCS #3 is a rich, nuanced, mature issue that builds and elevated Hoans legend among her allies and enemies. The character- and world-development aspects of this issue are excellent, but the pacing for the arc has slowed quite a bit, and the art tends to favor style over clarity.
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HOAN OF ORCS #4 rallies the troops to establish Hoan as the leader of an army ready to end the war with the elves. Hoans character work is excellent, and the building sense of momentum is palpable, but the down point of this issue is the rough art.
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HORIZON ZERO DAWN: LIBERATION #2 is a well-written, well-drawn expansion of the hit video game that focuses on character motivations and world-building. Despite the excellent execution, the lions share of both the first and second issues spend much too much time on a flashback, to the detriment of the story at hand.
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HORNSBY & HALO #1 is a thorough, well-constructed setup for a story about two early teens on the verge of realizing they are not of this Earth. Peter J. Tomasi's central premise has a lot of potential, and Peter Snejbjerg's artwork is well above average. That said, the issue lacks a strong hook to tell you about Zach and Rose's journey, and you don't get a read on their personalities, so there's nothing here to grab you.
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HYDRA #1 respectfully expands on Lovecraft lore when Dagon embarks on a quest to resurrect Mother Hydra. Lovecraft aficionados will enjoy the expansive take on the history of the Great Ones, but the story lacks a protagonist you can get behind.
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IMMORTAL RED SONJA #5 is a serviceable entry in the series with decent art, monster battles, and a new status quo for one character on the journey. However, the sum total feels small, doesnt end on a cliffhanger to keep readers invested, and the art has an odd quirk.
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IMPOSSIBLE JONES #2 continues a well thought out, organic origin story for the worlds least heroic and unlikeliest superhero. Joness discovery of her newfound powers feels organic and is integrated into the action well, and the art pops in a classic, Silver Age way. That said, the narration goes overboard in the first half by explaining nearly every panel, creating a disconnect between the art and the narration that quickly becomes tedious.
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IN HIS OWN IMAGE #3 ends the story with a couple of satisfying pages but you have to wade through a lot of tedious dialog to get there. The concept is interesting, and the ending leaves room for more, but this is a generally uneven ending that doesnt quite deliver on the original premise.
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JAMES BOND: 007 #4 delivers a mixed experience, with a weak start but a strong finish. While the initial confusion may deter some readers, the comic redeems itself with its intricate plot and compelling character dynamics in the latter half.
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JAMES BOND: HIMEROS #5 very quickly wraps up the story with plenty of action and gun fights to avenge Sarah Richmonds death and bring the villains to justice with extreme prejudice. The pacing is super brisk, almost too brisk, and the conclusion is satisfying enough, but the art is not the best.
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JUNCTION JONES AND THE CORDUROY CONSPIRACY #1 is an intriguing, offbeat detective noir mystery with a sci-fi twist. The settings and characters are memorable, and the premise is certainly unusual, but the lack of setup combined with slang-heavy dialog makes this issue a tough read.
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KERPOW! #1 is a great-looking comic with an interesting concept, strong character moments, and a kick-ass cliffhanger. That said, the reading experience is regularly interrupted by consistency errors that lessen the entertainment factor. With a little more focus from the editing team, this series has the potential to be a hit.
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KEYS OF CTHULHU (ONE-SHOT) brings Zenescopes year of Lovecraft one step closer to completion as Dagon sends his minions to capture the last two keys. You get plenty of battle action presented with decent art, and the overall arc takes a significant step forward, but the battle-heavy issue gets repetitive after a point.
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KILL ALL IMMORTALS #1 is a well-crafted, dramatic, and gritty drama about a family of Immortals. Zack Kaplan's story ticks all the right boxes when it comes to building the world and developing the characters and their relationships. Plus, Ossio and Rocha's art is excellent. That said, the central premise is one we've seen many times before, so it's a "wait-and-see to determine how this story sets itself apart.
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KILLTOPIA #1 imagines a violent, tech-obsessed future where mechs are the source of disease, and the hunters who kill them are treated like celebrities. Cooks world-building is impressive, and the plot is unique, but the dialog-heavy pacing and lack of emotional punch dampen the energy.
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KING SPAWN #28 isnt a story so much as its a string of challenges Spawn must face in his trek through Hell. The challenges are dramatic, and Fernandezs art is fantastic, but this issue is, at best, nothing more than an excuse to make the trip from A to B look interesting.
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KING SPAWN #34 delivers grim, gritty, bloody action to flesh out a paper-thin plot about a kidnapping rescue. McFarlane gives readers what they need to satisfy the bare minimum of storytelling, and Jason Shawn Alexander's painterly art style delivers the goods.
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KISS: PHANTOM OBSESSION #3 is an entertaining bit of action fluff thats little more than an excuse to show the worlds greatest rock band turned into superheroes who beat down giant mechanical monsters. While there is some character development and hints about what comes next, this is really best enjoyed as mindless fun with mediocre art.
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KISS: PHANTOM OBSESSION #5 takes all the twists and turns from the series and wraps the story up in a reasonably neat little package. The conclusion makes sense for all the wild wackiness KISS encounters on Cho Island, and the art team finished strong with the best-looking issue in the series.
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LADY HEL #2 is a decent entry in the series that fills in a ton of exposition to explain Lady Hels current dilemma as well as filling in pieces of backstory from her last encounter with Purgatori. The art is serviceable, and the conflict has stakes, so this is a mildly recommended pick.
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MAN GOAT & THE BUNNYMAN: BEWARE THE PIGMAN #3 ends the weird miniseries with a battle in Hell to save the world. Joe Brusha ends the story on a high note with strong character moments, edge-of-your-seat tension, and an unpredictable ending. However, the art is just okay.
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MIDNIGHT WESTERN THEATRE #4 wraps a sweet friendship story inside an Old West monster hunt. The relationship beats are sweet and impactful, and the art fits the mood of the material perfectly, but the monster hunt at the heart of this plot turns out to be little more than a convenient afterthought.
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MISSISSIPPI ZOMBIE #3 is an earnest labor of love from a collection of creators that enjoy both horror and the fine state of Mississippi. While the technical aspects put this comic in the diamond in the rough category, its filled with creative ideas, a genuine flavor of local Mississippi culture, and more zombies than you can shake a 12-gauge shotgun at.
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MONSTROUS: BOOK OF THE DEAD #2 is a fun, family-friendly adventure monster style. The action is exciting, the main heroes have a relatable charm, and the art is better than expected. That said, the main villain lacks sufficient setup, and the modern dialog doesnt fit the timeframe.
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MORNING STAR #3 continues the search for Charlie, but Jolene and Marabeth's efforts are hindered (helped?) by ghostly specters delivering pleas and warnings. Andry and Daniel's moderately-paced script packs in tons of atmosphere and mood from weird developments, buoyed by Finnegan's shadowy art. However, the plot is more weird than clear, and the shadowy art sometimes gets muddled.
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MUNDUS TENEBRAS #2 is a surreal, disturbing tour of the supernatural underbelly where demons and angels do business away from human sight. Staniscis tale of a priest challenged by a new reality is unsettling, and Nietos art peppers in startling moments.
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MYST: DRAGONS GUARD offers a good-to-great fantasy adventure, featuring impactful battles and a solid tease for future developments. Despite some characters feeling expendable and the art inconsistency, the narrative keeps readers engaged.
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Grimm Fairy Tales Myths & Legends Quarterly: Prophecy is an interesting story with monsters, magic, and all the revelations you could ask for about the mystery surrounding Mysteres origins. The art is fantastic, and the story is complete while planting seeds for a much bigger conflict. That said, the reading experience suffers from dialog and pacing problems.
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GRIMM FAIRY TALES MYTHS & LEGENDS QUARTERLY: DARK PRINCESS, available from Zenescope Entertainment on March 3rd, 2021, sets up a multi-realm war with a god-like villain willing to kill anyone in her way. That art is high-quality and the story is largely good, but the main villain needed more development to truly buy into what makes her tick.
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NIGHTFALL: MICHAEL'S AWAKENING #1 & #2, available from Animation Comics & Entertainment on June 27th, 2018, takes the concept of bloodlines and merges it with werewolf lore to create a family drama with an interesting mix of horror. Despite some serious problems with pacing, dialog, and lettering in the first issue, the arc finds some solid footing in issue #2.
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NYX #4 enters a strong character piece into the series by introducing a descendant-turned-monster-hunter of Mordecai Pendragons and teaching a life lesson to Nyx in the process. While the character growth is strong, the overall arc is starting to feel aimless.
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NYX #5 is generally a fine issue that encompasses one scene promising big things down the road. That said, its effectively one conversation, so whether or not you feel like youll get your moneys worth is up to you. Regardless, the art is great, and if nothing else, youll love the visuals.
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PERMADEATH #1 gives you two horror tales that play on the idea of finding happiness in all the wrong ways, leading to gory consequences. Jonathan Chance successfully invents relatable protagonists who pay the price for making bad choices, and the art teams turn in above-average visuals.
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Pooh vs. Bambi #3 is Zenescope's first foray into alternate takes on public domain characters, and the ending suggests more stories are waiting in the wings. There's no formal announcement as of this writing for more Pooh adventures, but the door to continue is wide open.
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POTIONS INC. #2 is a breezy, amusing next chapter in the series as Ran and the gang must learn to navigate the strange new world of 1992 Earth. The fish-out-of-moments are good for a few chuckles, and we learn more about the inherent magic of Earth. However, the light tone is too-light at times, and the safe, impact-free art ensures theres little drama to be found.
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POTIONS INC. #3 is a solid character piece that delivers gobs of exposition and backstory, but does it in a way that builds bonding and character development. The emotional beats are heartfelt, and the backstory is interesting. However, the art varies between okay and unfinished in stops, pulling down the enjoyment factor.
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PROJECT RIESE #2 amplifies the creepy horror as Sam and his crew find curious artifacts deeper underground, but the creepy tone takes an odd turn when the Nazi Baron arrives with a new cybernetic body. Its hard to say where Zac Thompson is headed with the series, but the odd mix of tones is a head-scratcher.
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PROJECT RIESE #3 gets weirder and wilder as Sam and his team run from Nazis while searching for the legendary gold train. The traps and dangers they encounter are the stuff of V/H/S low-budget shlock films, which may not be everyones cup of tea.
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PROMETHEUS IN CHAINS #3 is a wild, trippy, psychedelic journey through Victor Frankensteins mind when hes shocked by the realization of the monster hes created. Davis creates a script that works best as an experience, and DiRenzos weird imagery is incredibly impactful.
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PURGATORI MUST DIE #1 does a bang-up job re-establishing Purgatoris status quo, aligning all the players about to come after her, and tossing amusing carny talk to get readers hyped for the coming conflict. That said, the issue is mostly setup and backstory, and the art is a mixed bag.
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REBEL GRRRLS #1 blends Rock n Roll with the supernatural when the Devil plans to guide a girl band to stardom and the Apocalypse. The central premise drips with potential, and horror comics could benefit from a cool mashup, but new readers may struggle with not having one likable character to root for.
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RED SONJA (VOL. 5) #26, available from Dynamite Comics on April 21st, 2021, casts Red Sonja in a new light as a teacher/mentor but doesn't quite hold the readers' attention. However, the art is solid and dynamic enough to warrant continuing with the series.
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RED SONJA (VOL. 5) #28 has good art, good writing, and good dialog but this issue is closer to a light prologue than a dramatic finale. Despite the lack of big moments, it's still a pleasant way to say goodbye to the current run.
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RED SONJA (VOL. 6) #10 is an above-average entry in the series. The writing team delivers plenty of action, sword & sorcery, monsters, and mayhem while building up some momentum heading into the finale in a couple of issues. That said, the art quality is lacking in this issue but saved greatly by some mighty fine coloring.
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RED SONJA (VOL. 7) #2 delivers a dangerous and believable villain, excellent action, and outstanding art for a reasonably good second issue. That said, the narration frequently overlaps and competes with the main story, creating an annoying distraction.
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RED SONJA (VOL. 7) #5 cranks out the action and intrigue when Red Sonja fights her way through the countryside to reach Thord Vards stronghold. The action is entertaining, and the art is excellent, but the payoff of Red Sonjas hidden companion is a letdown.
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RED SONJA (VOL. 7) #9 delivers thrilling action sequences and introduces compelling challenges for the protagonists. Despite some narrative complexities and artistic nuances, the issue maintains momentum and leaves readers intrigued about the unfolding events.
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RED SONJA (VOL. 7) #10 delivers big action and significant developments, but suffers from a lack of focus in its storytelling. While the art quality is commendable, the disjointed narrative detracts from the overall reading experience.
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RED SONJA: BLACK, WHITE, RED #1 is a mix of great to not-so-great stories featuring the crimson-haired She-Devil. For the cover price, this anthology is worth it only for die-hard Red Sonja fans.
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RED SITHA #2 is a technically well-constructed comic with appreciable plot movement, good dialog, excellent pacing, and strong art. Whats missing is a reason to get behind the main character when shes lost all the interesting bits from her childhood and doesnt seem to care about anything in the present.
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RESURGENCE #3 keeps the crossover event moving at a breakneck pace to give nearly EVERY Valiant character a moment to shine and further the plot. That said, Fred Van Lente almost does too much too fast, and the central question about the villain's plan and motives remains unclear.
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RUNES #4 is a somewhat serviceable ending to an otherwise stellar series. The setup is interesting, the characters are unique, and I want to know more about this world. Unfortunately, both the story and art look rushed through to wrap things up too quickly. This series needed another issue or two to realize its full potential.
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SAM AND TWITCH CASE FILES #1 offers a gripping introduction to a world of crime and corruption, showcasing the complex dynamics between its titular characters. While the storys pacing may falter at times, its atmospheric storytelling and compelling character dynamics make for an engaging read. With the promise of future investigations and the potential for deeper narrative exploration, this comic sets the stage for an intriguing series.
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SAM AND TWITCH CASE FILES #2 succeeds in building intrigue and atmosphere. The palpable sense of paranoia and the intriguing mystery hold promise for future issues. However, the plot needs to pick up the pace to maintain reader engagement.
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SANTOS SISTERS #5 delivers chuckles, action, and weird developments with an anthology designed to put a smile on your face. The humor mostly lands, and the Archie-inspired art is pitch-perfect.
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SAVAGE #2, available from Valiant Entertainment on March 17th, 2021, keeps the action high but turns up the quippy banter to 11. This series has quickly turned into all tongue-in-cheek, all the time, so that might be right up your alley.
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SHADOWMAN: SOUL EATERS #1 is a super-solid start to a new Shadowman story that takes the character back to basics. A.J. Ampadu's script ticks all the right boxes for a proper Shadowman story. Unfortunately, the artwork doesn't rise to the quality of the script.
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SHELTER DIVISION #1 starts off the series with a familiar-yet-entertaining premise about a covert team of inhuman crime fighters working to solve a high-tech conspiracy. Theres plenty of action, strong character designs, and plot movement. That said, the story tries to do too much too fast, and the art has some weaknesses, particularly in the coloring.
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SHERLOCK HOLMES #1 introduces the readers to the next generation of Holmes detectives when Spencer Homes recalls how she received her familys legacy just in time to join a battle to save the Earth. Brushas script creates a well-rounded origin for the next great detective, and her first adventure is certainly creative, but the publishing time is poor, and Spencers miraculous powers of deduction failed her when they were needed most.
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SIRENS GATE #2 expands Taras journey into the supernatural with magically-powered assassins, witches, and vampires. The plot maintains a steady, albeit low-energy, pace, and the art style is certainly unique.
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SIRENS GATE #4 used the long hiatus to retool the direction and focus of the story with helpful exposition, dire prophecies, and a shocking revelation about our world. Maers writing is noticeably better compared to the previous three issues, and the art is consistent with Maers style, even if it is an acquired taste.
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SPEED REPUBLIC #2 is a serviceable entry in the series. The art is good, the action is great. And, the plot makes appreciable forward progress. That said, the main characters motivations and goals remain weak or unclear, which makes it difficult to understand why hes subjecting himself to danger.
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SPEED REPUBLIC #4 is a stronger and more coherent entry in the arc that completely changes the direction of the theme. The shift reworks a post-apocalyptic race into a corruption exposure story that breathes new energy into the series, albeit at the cost of not delivering on the central premise. The art is generally good, and momentum picks up as we approach the finale.
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SPEED REPUBLIC #5 ends the series with a message that hits you with all the subtlety of a freight train. you may or may not like the message, but its crystal clear Lindsay has something to say about society and how Lindsays idea of a hero should act when society slides downhill. What you do with that message is for you to decide.
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STARFINDER: ANGELS OF THE DRIFT #2 packs in loads of character- and world-building to move the story forward, inform readers about a host of different races, planets, and societies, and unveil a deadly secret. That said, the sheer volume of information makes this issue read more like an RPG guide than a visual story, making the experience overwhelming for casual readers.
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STILLWATER #1 is a familiar story with generally passable art. There's potential for the second issue based on the ending, but it's too soon to tell if this series is a winner.
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STUD AND THE BLOODBLADE #1 is a sometimes funny, sometimes corny, sometimes serious sendup of space barbarian properties ala He-Man. Its a mixed bag of things that work and others that dont, but big credit to the creators for trying something different.
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TEAR COLLECTOR #1 is an unusual, intriguing urban fantasy horror tale about obsessive love and two people who use magic to find it. The central premise is super interesting, and the art has a creepy underground feel that fits the vibe of the story, but the scene transitions are rough and confusing.
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TECHNOFREAK #1 is an amusing and satirical take on the cyberpunk/detective noir mashup. The writing is self-aware to the point of humorous absurdity, and Maurice the cat steals the show. However, the art is in significant need of improvement.
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THE BOX #2 raises the stakes with a deadly mob and the boxs previous owner coming for Leo and Claire. You can feel the tension and the actual threat of danger in every scene, and the story makes a respectable amount of progress toward setting up the next chapter. That said, the art was a down point for being just sloppy enough to muddle the visuals and create confusion about whats going on in-panel.
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THE DEADLIEST BOUQUET #1, available on Kickstarter starting on May 11th, 2021, is a slow burn start to a multi-generational story of murder, trauma, and dysfunction. The sparse story movement is rich with relatable dialog and dramatic character moments, but whether or not there's enough hook to keep going remains to be seen in issue #2.
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THE DEVIL THAT WEARS MY FACE #4 is a thrilling ride, but its not without its bumps. While the action is top-notch and the art is fantastic, the tonal shift away from horror and the overly silly elements left us wanting more of the initial atmosphere.
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THE HORN ISLAND TRILOGY is a sincere and earnest zombie anthology set in the fine state of Mississippi. You can see an above-average amount of attention went into making sure every story got the geography, history, and lore of Mississippi right, and despite the glaring flaws in art and dialog, the anthology manages to tell an entertaining story.
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THE INVINCIBLE RED SONJA #1, available from Dynamite Comics on May 5th, 2021, is a typical start to a typical Red Sonja story. The issue isn't bad, but neither the story nor the art stands out in any memorable way.
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THE INVINCIBLE RED SONJA #4 resolves the mysteries of the thief and how Red Sonja got into her predicament from the issue #1 prologue. The art is improved over the prior issues, but the writing and overall story remain forgettably average.
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THE INVINCIBLE RED SONJA #5 fills in a lot of backstory on the character of Bahira and brings the first conflict with Brelaq to an unsatisfying close. While the issue is generally okay, the rushed, inconsistent art and overall lack of wit or charm make the series somewhat forgettable.
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THE INVINCIBLE RED SONJA #6 is a mad dash race down the mountain in an issue that feels as close to an authentic Red Sonja as any other issue in the series so far. While the action is tense and non-stop, there are a few eyerolling moments, and the art is serviceable at best.
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THE INVINCIBLE RED SONJA #8 is a consistent entry in a consistent series. The writing and art are both skillful, but they lack richness or any standout details that would elevate this comic about average.
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THE LAST SESSION #2 is chock full of strong emotional beats and authentic conversations between a group of friends grappling with the same disruption in different ways. The art is serviceable, and readers who are fans of Webtoons-type material should enjoy this issue. That said, the issue reads as an extended scene that really makes no clear progress on the story or feels like its headed in any particular direction.
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SCORCHED #21 scales back the fall of society to focus on the task at hand pitting the Planet Eaters against Spawn and his allies for the fate of the Earth. The art and action are intense, and the stakes are clearly huge, but the buildup feels like it takes a step back into a standard brawl.
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THE SCORCHED #23 escalates the dramatic stakes when Spawn tries to convince She-Spawn not to leave the team under Gaias influence. The action is big, the drama is bigger, and the ending puts the teams future in question.
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THE VALLEY OF DEATH #2 turns the dial up on a pulsing atmosphere of fear when Leo feels his time running out. Rommel expertly nails the projection of panic, and Schwandts art improves with every issue. That said, the story feels disjointed and choppy.
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THESE. DAMN. KIDS! is creepy, moody, and pays bloody amounts of fan service to gore fans. The story is horrific, the art is well done, and the pacing is excellent. This would have been a solid winner but for some much-needed spit ‘n polish on the dialog.
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THEY FELL FROM THE SKY #3, available from Mad Cave Studios on April 14th, 2021, is an excellent breather issue that builds out the world and casts the Thomas/Orion relationship in a new light. The art is perfect for the source material, and despite some minor credibility strains, this issue makes the series feel bigger.
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THEY FELL FROM THE SKY #4, available from Mad Cave Studios on May 26th, 2021, resolves most of the threads to set up a big battle to come. The art is consistently good, and the writing hits all right notes for a Spielberg-esque kid adventure.
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THEY FELL FROM THE SKY #5 is an adequate capper to an entertaining and original series.
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THUNDERCATS #10 pauses the main plot for a flashback story that explains one of the reasons Lord Slithe hates the Thundercats. Declan Shalvey gives Slithe more character depth, and the outcome has potential. Plus, guest artist Joe Mulvey's visuals look great. That said, the new information about Lord Slithe's past doesn't change how you look at the character one bit.
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TOXX #2 shows readers how desperate and hopeless the world has become in a grim, depressing entry in the dystopian sci-fi series. The depressing tone fits the world Carothers and Palicki created, but the main characters are as unlikeable as the world they inhabit, so its becoming tough to find the motivation to keep reading.
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TOXX #4 piles on the action set pieces as the Damned Boys, Mutants, and the Peace Train engage in a head-to-head-to-head fight for Claire and Brody. The action doesnt let up once it starts, and the art is better than solid, but the big wow moment is less effective than it should be.
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TUFF STUFF (ONE-SHOT) falls into the so bad its good category with outlandish setups, the main character who doesnt make a bit of sense, villains more over-the-top than a wild Looney Tunes cartoon, and all the drugs and violence you can cram into a one-shot. Shlock has a certain charm, and this comic is shlocky to the max.
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UNBORN #2 explores how the trauma and pain of the past can lead two damaged people to find each other and how their bonds guide their choices under an alien attack. That said, the engaging backstory, while interesting, is largely irrelevant to the conflict at hand, and it steals energy and focus away from the unfolding alien threat.
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UNBREAKABLE RED SONJA #3 takes the story from weird time-travel shenanigans to even weirder time-travel shenanigans. Zubs technical execution in terms of pacing, dialog, and transitions are on-point, and the art is adequate, but more mystery with fewer answers makes for a confusing read.
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UNIVERSAL MONSTERS: CREATURE FROM THE BLACK LAGOON LIVES! #2 presents a unique character study about a woman whose obsession with catching a killer bears destructive fruit. Roberts and Stewart's art is on point, and the script's pace has an engaging ebb and flow, but Watters and Ram V's script is conflicted over which plot is most important.
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VAMPIRELLA (VOL. 5) #24 flitters between the past and present to show how Vampirella first saves the boy and then the man to stop the resurrection of Dracula. The old would you kill Hitler as a child? problem gets an interesting twist, and the dramatic tension gets turned up several notches for a tense story. That said, the art has some consistency problems when it transitions from one artist to the other, and the narrative flow is almost is nowhere near straight or clear
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VAMPIRELLA FAIRY TALES (ONE-SHOT) is a serviceable take on Red Riding Hood starring Dynamites favorite vampire heroine. The setup works, and Lees writing gets the job done, but the end result lacks imagination, and the art team weirdly struggles with body proportions.
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VAMPIRELLA VS. THE SUPERPOWERS #2 ratchets up the stakes and the mystery for a strong detective pulp noir story with a villain who might be more than Vampirella can handle. The writing is generally strong, and the art is generally good, but the story lacks energy/urgency, and the coloring is surprisingly flat.
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VAMPIRELLA: MINDWARP #5 ends the arc with peace, love, and hugs. The technical execution in the writing is fine, but the only idea thats worth remembering is what it would feel like to have the chance to relive your past. Everything else about this issue is forgettable.
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VAMPIRELLA: THE DARK POWERS #2, available from Dynamite Comics on January 27th, 2021, replaces the non-stop action from issue #1 with tons of character development and exposition. Despite the amount of talking, the issue never felt plodding or boring. The art was good overall, and it has me curious to find out what happens next.
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VAMPIRELLA: YEAR ONE #2 is a somewhat okay entry in the series with improved art and competent writing, but the central premise of the series has yet to justify its own existence. The point of a Year One story is to show that moment where a zero becomes a hero, but this story is too focused on playing Game of Thrones lite to rise much above boring.
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VAMPIRELLA: YEAR ONE #4 is a clean, clear, concise end to Vampirellas time on Drakulon before she heads into her classic period on Earth. The dialog, pacing, and plotting are solid, and Gndzs illustrative art style is improving. However, this entire arc is not a Year One story, and the lack of a clear plot makes this arc feel like youre reading a historical account rather than a story.
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VERGE #3 continues to give readers a crafty and original time travel story wrapped in a history-spanning murder mystery. The art, especially the colors, goes into overdrive to make a dialog-heavy issue full of mood and atmosphere. That said, the story is well-written but it packs a little too much in all at once to get readers from A to B, resulting in a comic that feels more academic than dramatic.
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WE PROMISED UTOPIA #1 attempts to tackle a sweeping story spanning several millennia about a group determined to save the Earth from ecological disaster by any means necessary. Using multiple writers and artists to cover different millennia is a bold creative choice, but it may not be everyones cup of tea.
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WEREWOLF BY NIGHT #1, reads more like a Hulk story than a horror comic, it's a standard action plot with exceptional artwork. I would recommend this to anyone with an insatiable hunger for werewolf entertainment.
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WEREWOLF BY NIGHT #2 takes a few steps forward on the story and treats the reader with strong visuals. If the writers can add some emotional punch, this has the potential to be a memorable book. This is a guarded recommendation.
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WHEN THE BLOOD HAS DRIED #1 delivers solid world-building, character development, and artistry. However, its lack of a strong hook may dampen its appeal to some readers. Regardless, this issue sets the stage for an intriguing fantasy tale but falls short of delivering the gripping excitement needed to fully captivate its audience.
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WHEN THE BLOOD HAS DRIED #2 brings the Adventurers' Guild to town, stirring up old memories and drama. Moloney's fantasy adventure tale is starting to show purpose and direction, and the art is rock solid, but the lack of clarity surrounding the players and their motivations makes it difficult to care about any of the characters.
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WHITE RIVER MONSTER #1 mixes a creature feature and conspiracy thriller into an entertaining tale about the search for a mysterious water cryptid. Rommels script has fun mixing fiction with real-world legends, and the art is adequate.
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WILD BULLETS #2 continues the incredibly unbelievable tales of the Bullet family when a trio of Christmas carolers are invited in for hot cocoa. The tales are taller than the Himalayas, but the unique twist of tying each tale back to a central story isnt as meaningful here as it was in issue #1. The art is executed well for each tale, and the issue ends solidly enough, but the connective tissue is lacking.
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WONDERLAND: CHILD OF MADNESS #3 has a decent ending, but the journey suffers. Strong Violet/Calie moments, a creepy villain, and a touching conclusion are held back by excessive, confusing dialogue.
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X-O MANOWAR: INVICTUS #2 picks up immediately after the events of Unconquered to X-O MANOWAR: INVICTUS #1 find Aric biding his time for an opportunity to save Nimane from the Novus Romanus. Furukawa's art is strong, and Cloonan and Conrad plant a crop's worth of mystery seeds, but new readers will have trouble jumping in due to the lack of context, and the mini-mysteries are weak hooks.
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YUKI VS PANDA #3 takes readers on an amusing ride of High School drama and romance, muggings in the park, and a little mysticism. Unfortunately, the parallel story threads are so far apart, they dont feel like they belong in the same comic, making for a disjointed reading experience.
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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.
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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.
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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.
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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.
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CHARRED REMAINS #6 brings the supernatural miniseries to a close with lots of action, high urgency, nail-biting moments, and a reasonably satisfying conclusion. That said, the Hope's House mystery is explained away without proper development, and the art loses clarity in a few spots.
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DEAD BY DAYLIGHT #4 delivers on the emotional front, unfolding Susies journey in a hectic and tragic manner. The Legions descent into darkness is well-portrayed, but the uneven distribution of character development hampers the overall impact. The art style, though fitting for the narrative, may not be everyones cup of tea.
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DEAD DETECTIVE #5 delivers a fitting end to its supernatural saga, setting the stage for potential future adventures. While it struggles with pacing and exposition overload, the stellar artwork and satisfying resolution make it a worthy read.
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DESTRO #1 is a dense start to a miniseries spotlighting one of G.I. Joe's most ruthless villains. Dan Watters peppers in all the names, cameos, and references to make Joe connoisseurs happy, but the plot structure is overstuffed and largely dull. Plus, the art lacks sharpness and refinement.
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DICK TRACY #3 increases the scale and complexity of a criminal conspiracy that threatens to set off a citywide gang war. Segura and Moreci pull out all the stops to give Dick Tracy a case that he can't handle alone, and Borges's artwork successfully leans into the detective noir aesthetic. That said, the script tries to do too much in too few pages, and the grounded artwork loses almost all trace of that quintessential Dick Tracy style.
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EDIE #1 homages classic drive-in creature features when Edie gets invited to a party and winds up becoming the host of voracious green goo from outer space. Catalanotto does a fine job setting up all the expected archetypes of jocks, bullies, and mean girls just waiting to get whats coming to them, but the story is almost too close to a Blob story to feel wholly original.
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GRIMM FAIRY TALES (VOL. 2) #87 is an action-packed, fast-paced issue that pushes plenty of magical mayhem, but the lack of character development for a new threat is a bummer. Dave Franchini keeps readers engaged with surface levels of energy and excitement, and the art team, despite some readability issues with the lettering, produces adequate visuals.
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GUN HONEY: COLLISION COURSE #4 ends with a climactic collision at the Paris 2024 Olympics. Charles Ardai's script gives you everything you expect from a Gun Honey story, including energetic action and titillating developments. Plus, Ang Hor Kheng's art is gorgeous. That said, the plot between this issue and the previous three reads like it's part of a completely different story, so some readers may get lost.
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HIGH ON LIFE #1 adopts the hit video game into a zany, wacky comic about a talking alien gun hunting humans and his fellow talking guns who band together to stop him. Robbins and Wallis capture the tone and farcical atmosphere of the source material, but the concepts and humor likely won't appeal to readers unless they're already fans of the game.
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KING KONG: THE GREAT WAR #5 succeeds in creating a dark and atmospheric tale of survival, but its thin plot leaves something to be desired. While the art and atmosphere are commendable, the repetitive nature of the story detracts from its overall impact.
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KING SPAWN #31 presents an engaging storyline that showcases Spawns resilience in the face of powerlessness. The exploration of his character in this new context adds depth to the narrative. However, the lack of clarity in the connection between Spawn and Mrs. Blake, coupled with the art falling slightly short of expectations, detracts from the overall experience. Despite its shortcomings, the anticipation for how Spawn navigates this mortal predicament keeps the readers hooked.
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OZ: FALL OF THE EMERALD CITY #3 brings the 3-part adventure to a close with twists, magical battles, and an ending that changes the status quo for at least one character and keeps the door wide open for a follow-up. Wohl's script is brisk and engaging, but there's more story than pages, so the ending feels rushed.
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RAT CITY #5 is an oddly paced issue that gives you plenty of backstory on two side characters and sends Peter Cairn on a weird mental trip, but that's it. Erica Schultz's individual scenes are well done, and the art looks great, but this issue reads like inconsequential filler.
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REBEL MOON: HOUSE OF THE BLOODAXE #3 offers drama and turmoil, especially within Lord Shasus family and the larger intergalactic conflict, but it falls short in terms of coherence and art quality.
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RED SONJA (VOL. 7) #16 brings the series into sharper focus as the end of the arc draws near. Torunn Grnbekk's script has all the right elements of a standard sword & sorcery adventure, even if the stakes and consequences of Red Sonja's quest aren't clear, and the art team delivers.
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RESURGENCE #2 depicts a world in chaos, where nobody can die, and all systems of power from medicine to financial become useless. Fred Van Lente and A.J. Ampadu give you more than your money's worth with a comic stuffed to the gills with enough story to cover every Valiant character, and the art team bears the weight with ease. That said, the main downside is the lack of clarity surrounding what everyone is fighting for.
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SANCTION #3 starts slow by focusing heavily on interoffice politics and the shenanigans of mildly corrupt cops, but once Dimitrovich discovers a clue, the issue quickly swings into a tense crime thriller. Fawkes has a winner on his hands if he can keep the pace and energy up heading into the next issue. Likewise, Fuso's artwork lacks details, but the visual aesthetic successfully captures the cold isolation of the setting and characters.
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SCARLETT #1 gives G.I. Joe's most popular super spy a mission to save her long-lost friend from a ruthless clan. Thompson's script moves well and captures Scarlett's courageous personality, but the setup is generic spy fodder, lacks any clear connection to G.I. Joe in the interconnected Energon universe, and delivers just average art.
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SIRENS GATE #5 returns from the hiatus with a fast-paced adventure to escape Rein the demon and traverse the Gates of Hell. Maers script isnt pulling punches with big ideas, and the art captures Maers dreamy aesthetic. That said, Taras goals and motivations arent well defined, and the figure work is mannequin stiff.
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TRUE HORROR MYSTERIES: THE BABYSITTER KILLER offers a chilling glimpse into the world of unsolved crimes. While it may not satisfy those seeking closure, it serves as a haunting reminder of the darkness that lurks beneath the surface of everyday life. With its focus on true crime and real-life mysteries, this issue will appeal to fans of the genre.
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THE VALIANTS #2 cooks up a simple rescue mission as a reason to bring Eidolon and Bloodshot into the team-up book. The action is solid, and Cady's plot makes sense. Plus, Barrionuevo's art is perfectly serviceable. This isn't the best comic out this week, but it's a perfectly adequate entry for die-hard Valiant fans.
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VAMPIRELLA #667 has its flaws, but earns a higher score primarily due to its redeeming qualities in the latter part of the issue. The connections to previous arcs enrich the narrative, but the complex storytelling may deter some readers. Overall, the issue sets up an intriguing premise for future developments in Vampirellas journey.
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VAMPIRELLA/DRACULA: RAGE #5 starts to tie loose threads together, unraveling Draculas intentions and intersecting with Vampirella. The moody and atmospheric art enhances the gothic vibe, creating an immersive experience. However, the convoluted and unnecessarily complicated narrative, coupled with distracting subplots, hinders the overall enjoyment. Despite the flaws, the issue sets the stage for an intriguing future.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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CASPIAN PORTER #1 takes bits and pieces from nearly every sci-fi classic you know and love to create a new pulp adventure. The art is excellent and the concept has tons of potential, but some of the influences are a little too on the nose and the main character is tough to root for.
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CHARRED REMAINS #2 is a decent issue, but it doesnt quite reach the heights of its predecessor. While the character development and world-building are commendable, the lack of plot advancement and action leaves readers wanting more. Fans invested in Amy and Vics inner journeys may appreciate the deeper exploration, but others might find the slow pace frustrating.
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COVER OF DARKNESS #6 makes a reasonable amount of progress on all fronts with plenty of gore and monster madness on every page. However, there are too many disparate threads happening all at once, and its unclear if this series has a main plot.
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CRUSADER #2 wanders around and explores the realm as the Templar Knight haphazardly looks for help getting home. Emmonss individual scenes are interesting, the fights are exciting, and the art is serviceable, but its too soon to tell if this series is going anywhere.
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DANDY PRESENTS: PENNY DREADFULS (ONE-SHOT) is a mildly entertaining collection of short horror stories ranging from basic to intriguing. The queer coding suggested by the narrator is less obvious than he points out, so this anthology allows readers to take away only what theyre looking for. The art quality is inconsistent, as with most anthologies, but each story has an unexpected twist to keep readers on their toes.
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DARKWING DUCK #6 is a fast-paced, action-filled romp to conclude Dr. Nogoods plan to brainwash St. Canard. The art is practically perfect, and the plot moves like lightning, but theres too much going on, making the conclusion feel overstuffed and manic.
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DEAD BY DAYLIGHT #2 captures the dangerously disturbing atmosphere of four teens who desperately want to feel something other than boredom and helplessness, sending them hurtling down a path of destruction. Shammass character- and world-building are outstanding, but the art is disappointingly weak.
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DEAD DETECTIVE #2 accompanies Lt. Falls to the limbo of the afterlife when he falls into a mysterious tunnel. Heyoka constructs a surreal city populated by an eclectic cast of characters, and Jansens creature art looks great, but the series is only a scenario in search of a story.
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DEJAH THORIS (VOL. 3) #11, available from Dynamite Comics on March 24th, 2021, is a fast-paced war story that suffers from art more suited for a children's book. There's enough in this issue to warrant coming back, but this isn't the best entry in the series.
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DEJAH THORIS (VOL. 3) #12, available from Dynamite Comics on April 14th, is the action-filled finale to the current story arc. All the threads wrap up nicely, and new ones are started to lead into the next series. Despite the inconsistent art and off-putting dialog, this is a well-rounded conclusion.
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DIE!NAMITE LIVES! #2 has a few visual punches and starts to tie the crossover threads together, but the disconnected narration keeps readers from feeling like they're part of the story.
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DOCTOR WHO: MISSY #2, available from Titan Comics on May 12th, 2021, looks and feels like a modern Doctor Who adventure, but the lengths a reader will have to go to suspend disbelief to accept the prison break makes this a tough issue to swallow.
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DOCTOR WHO: MISSY #4 ends the mini with a pointless whimper instead of a bang. The conclusion reveals the entire premise made no sense, and the last issue worsens with a significant downturn in the art.
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DRACULINA: BLOOD SIMPLE #3 is a headache wrapped in a migraine locked in a pain in the neck of a story. The scenes are haphazardly peppered without rhyme reason, and you get the overwhelming sense that a lot of time is wasted getting to the point. That said, the last page introduces the semblance of a plot, and the art is far better than it has a right to be.
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DRACULINA: BLOOD SIMPLE #4 begins the overdue process of bringing the plot into focus as Draculina and Vampirella find common ground. The plot threads may be messy, convoluted, and disconnected, but they appear to be moving in the same direction, and the art is gorgeous.
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DRACULINA #5 represents the very essence of conflict by delivering sensationally stimulating art with a plot thats as complicated to follow as a herd of kittens in a ball pit. In fairness, the story certainly isnt boring, but good luck trying to describe it in two sentences or less.
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DREAM TOWN AMUSEMENT PARK #1 hits the horror nail on the head with a unique blend of horror and fantasy in a story about a living mascot who walks out on the brand he made famous. The central premise is imaginative, and the art is generally good, but the scene transitions are clunky, and the dialog is super-rough.
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ELRIC THE NECROMANCER #1 begins another visually stunning adaptation of Michael Moorcock's dark fantasy creation with a grim atmosphere, mature themes, and a captivating protagonist. That said, the visually stunning look and richly detailed story can't overcome the jarring skips that rush readers from one point to the next.
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EXORCISTS NEVER DIE #2 digs deeper into the metaphorical nature of the plot as Syd and El battle the deadly sin of Lust while battling their own unresolved feelings towards each other. In concept, this story is an intriguing exploration of the conflicts couples experience, but the rich depth is overshadowed by painful dialog and clunky execution.
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EXORCISTS NEVER DIE #3 continues the intriguing story of a pair of exorcists who fight through demons representing the seven deadly sins, forcing the former couple to confront the sins that affected their relationship. The art is very good, and the storys central premise is steeped in interesting metaphor, but the pattern loses focus when the fight against gluttony is anything but gluttonous.
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FAIRY TALE TEAM-UP: ROBYN HOOD & BELLE offers a straightforward plot with good art and consistent visuals. However, the issue feels elongated, with excessive exposition in the initial sections. The action-packed moments, while entertaining, dont fully compensate for the thin plot. Despite these shortcomings, the familial twist and promising epilogue set the stage for potential future developments.
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FAIRY TALE TEAM-UP: ROBYN HOOD & VAN HELSING gives readers a standard heroes-versus-vampires story with a unique twist. Pat Shand's central concept, pacing, and plot execution are solid, but the art from a small team of artists is a mixed bag.
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FALLEN #1 is a strong first issue in a new indie title. The premise is intriguing, the art is decent, and the tone successfully blends urban fantasy and horror. That said, the character introductions and scene transitions are clunky, and the inks need polish.
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FIRE AND ICE #2 continues the complex plot surrounding Realms on the brink of war. Willingham crafts a script brimming with plots, subplots, and strategic maneuvering, and Mancos art is a worthy successor to the source material. That said, the busy plot is hampered by a lack of action and energy.
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GARGOYLES: DARK AGES #2 delivers one big bombastic battle, pitting humans against humans and Gargoyles against humans for the right to King Culens throne. The action is energetic, and the cliffhanger ending generates curiosity for what happens next, but the unfortunate human designs make all the characters fighting (except Gargoyles) look like a mass of confusion.
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GLAMORELLA'S DAUGHTER #1 is a valiant attempt at casting the complexities of a mother-daughter relationship in the world of superheroes. The art is visually engaging, and the premise is a unique combination of genres, but the integration of adult and young reader themes falls short.
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GRIMM FAIRY TALES (VOL. 2) #58 is a so-so issue in the ongoing Dark Princess saga. Skyes mini-adventure on a dead world is fine, but the universe hopping is quickly becoming repetitive. Also, the art quality in this issue is noticeably lower than typical Zenescope quality.
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GRIMM FAIRY TALES (VOL. 2) #66 is a Lovecraft fans dream come true with references and appearances from multiple Lovecraft stories. However, the Easter Eggs take the place of plot progression, and the art is weak.
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GRIMM FAIRY TALES (VOL. 2) #84 forces Belle and Skye to undertake a dangerous mission on behalf of a family of mythological characters. The central plot is creative, and the character work is on point, but the art is only serviceable, and the antagonists lack development.
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GRIMM UNIVERSE PRESENTS QUARTERLY: SLEEPING BEAUTY THE NIGHTMARE QUEEN tells you everything you want to know about Rory Norris while she fights off the evil Nightmare Queen from taking over the Dreamverse. The art is excellent, and the battles are powerful, but the basic plot leads to too-long scenes, too-long conversations, and too much fluff.
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GUNSLINGER SPAWN #26 serves an intriguing epilogue to issue #25 as Javi recalls the torture session that created a burning hate within him, but the issue has little point other than to flame the fans of Javis already-established motivation. Dexter Soys art is outstanding, and McFarlanes scenes are well done, but this bone doesnt have much meat.
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THE HARBINGER #2 is an uneven mix of intriguing developments and confusing character actions. While the creators clearly have a story to tell, it relies too much on expecting the reader to do the work to figure it out. The art is generally good, but the odd color choices tamp the energy way, way down.
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THE HARBINGER #3 gives readers some ooh, thats cool moments and easily ends the current conflict with The Warning without even breaking a sweat, significantly deflating the threat level or stakes. Its clear the creators are setting up The Renegade to be the bigger bad villain, but theres not much development after three issues to feel any sense of foreboding about what Renegade is after or why. If the creators want to get readers invested, the threat needs to be established, credible, and greater than our hero. So far, that hasnt happened, making it a struggle to find a compelling reason to come back for more.
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THE HARBINGER #5 starts a new mystery about Renegades intentions and his desire to become the dominant Peter Stanchek. While the story fleshes out the latest status quo, the tone and all characters actions are dour and depressing. Its not much fun when you have a main hero whos drained while everyone around him continually lectures and chastises him. The art is generally strong, but the over-sue of purples drains the energy out of this issue.
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HATCHET: HALLOWEEN TALES III is a consistent entry in the Hatchet/Victor Crowley comics canon with plenty of flying limbs and guts galore. However, the lack of true challenge for our main villain is starting to feel like the stories are stuck in a rut. If you want more of the same from Victor Crowley, this one is right up your alley
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HEAVENS REJECTS #1 is an interesting start to a new world by Wright. The main idea is intriguing, and the plot certainly isnt boring. However, the characters lack emotion and depth, and the art is average at best.
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HORIZON ZERO DAWN: LIBERATION #3 is a faithful adaptation of the last days of Ersas life, but the story lacks any dramatic weight or emotion. The art is video game accurate and looks great during the action scenes. If youre truly invested in the Horizon Zero Dawn franchise, get this comic to complete your collection. Otherwise, youre better off just playing the game.
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HORIZON ZERO DAWN: LIBERATION #4 ends the series by wrapping up some threads in a mildly satisfying way and wrapping up others on a flat note. The art is excellent, and the action in this issue gives fans of the video game plenty of fan service, but the build-up to catching the storys villain ended with a lot to be desired.
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ICE CANYON MONSTER #1 possesses a solid foundation. The environmental message is timely, the character dynamics hold potential, and the story unfolds at a steady pace. However, the clunky narration and the cartoonish monster design hinder the overall experience. Ultimately, its a mixed bag good ideas held back by execution flaws.
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ICE CANYON MONSTER #3 delivers solid pacing, compelling action, and intriguing character developments. However, the stiff dialogue and mediocre art quality detract from its overall impact.
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IMMORTAL RED SONJA #6 is a serviceable issue with plenty of cool visuals and lots of Easter Eggs for lovers of Arthurian legend. However, the plot barely moves forward, and the mediocre art makes this issue largely forgettable.
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IMMORTAL RED SONJA #10 ends the series with plenty of action and a reasonably satisfying ending. That said, the final battle only works by breaking a few rules that invalidate parts of the arc, and the art is inconsistent.
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IT HAPPENED ON HYDE STREET: DEVOUR #1 is a perfectly average horror comic that uses the pressures of body image to give one of Hyde Street's collectors a vehicle to acquire souls. Maytal Zchut's tale of woe gets the job done, even if it suffers from poor pacing and a lack of surprise, and Leila Leiz's artwork is the highlight of the issue.
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JAMES BOND: HIMEROS #4 is a somber and weighty entry in the series. Sarah Richmond is brought back to where her crimes and nightmares all began to show that shes as much of a victim as a villain. The story is impactful and keeps the dramatic tension high, but a changeover in the art team brings the quality of the book down significantly.
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KAMEN RIDER KUUGA (VOL. 2) is a passable collection of the next set of Kamen Rider Kuuga chapters. The story and art accomplish whats expected for a Kamen Rider series, but the art is stiff in spots, and the English translation is rough.
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KING KONG: THE GREAT WAR #3 leans into the shock, gore, and horror for the most terrifying depiction of Skull Island yet. Cox puts the U-boat crew through the wringer, and Bianchis art conveys heaps of shock and fear from the crew. Conversely, this issue is almost all shock, horror, and atmosphere without much plot underneath.
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KING SPAWN #36 is a mixed bag with strong character moments and dialog, offset by a thin plot and weak art. We like the direction of the arc as Spawn goes on the offensive against the vampires for kidnapping Grannie Blake, so this series has potential if it can tweak the shortcomings.
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KING SPAWN #37 barely has a plot, but what it lacks in the story, it makes up for with Spawn and Cy-Gor going bananas in a room full of mortal angels. McFarlane's script is all about the action, specifically a new power move you won't see coming. Thankfully, inar's awesome art grabs your eyeballs long enough to forget the lack of story.
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KISS: PHANTOM OBSESSION #4 is a full-on chase as KISS and Miss Tzen look for a way to escape while being chased by mutant monsters and unstoppable androids. The pace and energy are high, and there are a few cool surprises at the end, but the art is simply terrible in this book.
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MONOLITH #1 begins a face-punching, limb-ripping battle royale to set the stage for Monolth's quest to save the Earth and the universe. Lewis and Giangiordano deliver plenty of smashing and a few cameos, but the plot lacks backstory and context.
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MONOMYTH #3 whittles down the group of survivors and increases the magic battles for a creepy atmospheric chapter. While the atmosphere is interesting, the characters lack development, and the absence of information about the wizard makes the story feel aimless.
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MONSTROUS: HEARTBREAK AND BLOODLOSS #3 is a cute little tale of a monster hunter blinded by love. The art is average and the jokes sometimes land, but other jokes overstay their welcome, almost to the point of becoming uncomfortable.
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MONSTROUS: BOOK OF THE DEAD #3 is the cleanest and clearest issue in the arc with an Indiana Jones-style adventure to find Samiras tomb. The father/daughter chemistry is heartwarming, and the circumstances of their quest are imaginative, but the clunky writing and eye-rolling jokes offset the reading enjoyment.
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MONSTROUS: BOOK OF THE DEAD #4 is a somewhat satisfying albeit unevenly executed end to the arc. The characters are endearing, and the family relationships feel genuine, but the clunky dialog and clumsy scene transitions make for a rough read.
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NATURES LABYRINTH #1 is a modern take on The Most Dangerous Game with excellent art and amusingly deadly traps. However, the eclectic collection of contestants are off-putting or confusing on some level, so the reader has nobody to root for.
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NATURES LABYRINTH #2 continues the bizarre fight for survival by getting more bizarre, surreal, and deadly. The maze traps are imaginative, the deaths are gruesome, and the plot turns are unexpected. That said, the surreal moments are overshadowed by a lack of clarity in the plot and a lack of motivation for the characters.
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NATURES LABYRINTH #3 takes a mid-arc breather to do nothing in particular that matters to the story. We learn nothing relevant about the players or the organization behind the hunt, and the pacing is decidedly dull.
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N.O.A. #3 is a crazy, over-the-top ending to a weirdly wild spy thriller with dragons. The finale wraps up all the loose threads while leaving the door open for more stories. However, wrapping up the high volume of threads makes the issue feel rushed, and the art, especially the coloring, isnt as clean as it could be.
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OZ ANNUAL: DOMINION OF OZMO has a collection of cool designs, interesting world-building, and plenty of potential for future adventures in the realm of Oz. That said, everything about this annual screams rushed from the unfinished, loose art to the rough, unnatural dialog.
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PROMETHEE 13:13 #4 wraps up the story completely but rushes to get to the end while introducing new plot questions that never get answered. Martinbroughs art is solid, and the dialog is good, but this ending fails to satisfy by trying to get too far too fast.
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In REBEL MOON: HOUSE OF THE BLOODAXE #2, it becomes evident that this spin-off caters primarily to completionists and devoted fans of Zack Snyders Rebel Moon film. For those deeply immersed in the Rebel Moon universe, this series might offer a supplementary narrative thread. However, for the general sci-fi enthusiast seeking an engaging storyline, it falls short. The disjointed plot, uninteresting characters, and clunky dialogue make for a somewhat mundane and almost boring comic.
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RED SONJA (VOL. 6) #8 is a serviceable issue but it feels imbalanced in both the writing and art. The writing ends the big battle for this leg of the arc with barely any effort and in an odd place. The art waffles between clean and polished to unfinished and sloppy. This issue is, at best, a mixed bag.
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RED SONJA (VOL. 6) #12 ends with a few heartwarming moments and a new status quo that dovetails Sitha into her Red Sitha series. However, Sithas new status quo is less intriguing, and the overall art in this issue is sloppy.
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RED SONJA (VOL. 7) #4 begins the battle for Velanger with plenty of battle action, brutal deaths, and loads of energy, but very little movement on the plot. That said, the crux of the issue relies on a big reveal that isnt as big or surprising.
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RED SONJA (VOL. 7) #8 presents exciting action and advances the plot significantly. However, awkward scene transitions and character introductions make the read less smooth than it could be. Despite this, the art remains visually appealing.
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RED SONJA/HELL SONJA #4 ends the battle for Hell with a giant battle that calls in all the Sonjas from across the multiverse. The art is fantastic, and the smaller character moments work well, but the finale stops short of answering the most important question what was the point?
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RED SONJA: THE PRICE OF BLOOD #3, available from Dynamite Comics on February 17th, 2021, blows Sonja's best-laid plans all to hell. The art is a bit flat, and the story is a bit cliché, but the story wraps up cleanly with Sonja [SPOILER] living to fight another day.
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ROBOTECH: RICK HUNTER #3 is an acceptable comic for enthusiasts deeply invested in the lore, but for those craving more action in their war comics, especially with mechs, the pacing might pose a challenge.
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ROBOTECH: RICK HUNTER #4 elivers plenty of action and urgency, but its rushed pacing and art diminish the overall impact. Despite its flaws, it still offers an engaging conclusion to the miniseries.
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SACRED SIX #8, available from Dynamite Comics on April 21st, 2021, succeeds in fleshing out Nyx as one of the lesser understood characters in Vampirella canon. The art is mildly inconsistent but not enough to be jarring, and the main story works up until the erratic and chaotic ending.
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SACRED SIX #9, available from Dynamite Comics on May 19th, 2021, is filled with great art and a lot of things happen, but the story is a chaotic, disorganized chore to get through.
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SAM AND TWITCH CASE FILES #6 ratchets up the simmering sense of paranoia and danger as Twitch realizes the corruption in Plainfield covers for a serial killer, and he either needs to join in or become its next victim. McFarlane and Goff successfully build an atmosphere of tension tight enough to pop, and Kudranski's grounded art suits the story perfectly. That said, the details of the how and why of the conspiracy are still a complete mystery, so the series has abandoned intrigue in favor of frustration.
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SAMURAI SONJA #3 is an odd entry in the series because there is no story, exposition, or character growth. Sonja enters a bridge and fights the ogre. Its unclear if this issue legitimately qualifies as a comic, but if you want to see some darn fine sword-fighting skills, this one has it all.
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SAVAGE RED SONJA #1 kicks off a standard red Sonja adventure to find a rare jewel. Dan Panosian surprises as a solid comic writer (instead of a notable comic artist), but the art is just passable at best.
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SCARLET SISTERS (ONE-SHOT) is a commendable foray into creating a new adventure, complete with an updated status quo, for a new team of Public Domain characters. Segura captures the right tone and plot that blends the modern world with classic pulp action/adventure. Unfortunately, theres not enough page space for all the story elements to fully develop, and the art is unpolished and sloppy.
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SCARLETT COUTURE: THE MUNICH FILE #5 brings the arc to a close when Scarlett and her mother fight to escape a yacht about to explode. Taylors art is bright and energetic, and the story (technically) ties up all the major threads, but the number of open-ended conclusions and the lack of a wow moment feel less than satisfying.
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SHEENA: QUEEN OF THE JUNGLE FATAL EXAMS #4 gives you plenty of plot development and great art for the cover price. That said, theres too much happening that doesnt solve the mystery behind the villains plan or what Sheena needs to do to stop it.
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SNOW WHITE: ZOMBIE APOCALYPSE #2 retains the irreverent wit and surreal charm of the first issue, with interesting dialog and top-notch art. However, the plot is nowhere to be found.
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SWEETIE: CANDY VIGILANTE #4 brings Pixie Stix deeper into Sweeties organization as part of Sweeties plan to do something. The art is eye-popping vibrant, and the weird scenes are captivating, but its not clear whats going on, what Sweetie is up to, or why. After four issues, we shouldnt still be asking Whats going on?.
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THE ACCURSED #1 is a diamond in the rough about a sister and brother hunting the witch who killed their parents. The concept and world the characters inhabit are interesting, and the art is engaging, but the script has more than a few rough spots.
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THE BOX #3 raises interesting philosophical points about the nature of need and want while moving the plot along for a respectable distance. That said, the debating and philosophizing take up so much space, the pace tends to drag in several spots. The art is gritty and moody, creating a tone of tense danger. However, the inks are too blotchy in spots, making some characters unrecognizable.
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THE DEVIL TREE #1 recounts the horrifying murders of Florida's first serial killer and the mysterious tree at the center of it all. The premise's real-life origins give the issue an extra dimension of chills, and the story is interesting enough to keep following, but the issue lacks focus, and the art could be tighter.
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THE DEVIL TREE #2 improves the focus and plot development over #1 with a disturbing, disquieting escalation of the Devil Trees influence. The two primary, strangely disconnected plots are enough to give you the creeps, but their disconnection is confusing, and the art is serviceable at best.
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THE INVINCIBLE RED SONJA #10 is technically well-executed but contains almost all padding and filler to give Red Sonja something to do in an adventure that should have ended two issues ago. If you liked this run, this finale is more of the same.
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THE SHEPHERD: THE PATH OF SOULS #1 crafts a unique vision of the afterlife and what it means to move on. The creators get high marks for attention to realism and details, but the excessive accuracy and details bury the story in minutiae, making for a tedious reading experience.
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THE WIRE FENCE (ONE-SHOT) is an intriguing setup to an Old West fantasy about an orphan boy who forms a bond with a magical stranger. The character- and world-building have high potential, and the art suits the script to a tee, but the short page count prevents a full story from forming.
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TITAN: MIGHT OF MOUSE #4 hits readers with a one-two punch of twists and revelations to make Titans quest to save Asher an unexpectedly wild ride. However, too much of a good thing is a problem when the sheer volume of twists becomes confusing.
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TOUCHING EVIL #17 has a lot going on, possibly too much. While the individual scenes are well-written, no individual plot thread makes enough progress to engage the audience, and it makes for a slow and muddled reading experience.
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TRAKOVI #2 continues the surreal villain revenge tale when Trakovi encounters his cousins murderer. Kolerics tale of bloody revenge is as bizarre and head-scratching as his art, but theres a certain indie charm in both thats worth the purchase on novelty alone.
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UNBORN #3 has strong emotional beats to fill in the backstory of one of the characters and plenty of tense human-vs-alien action. However, the actions of the humans are so recklessly stupid, you start to think you want to see them die in a bizarre case of schaden freude. Thankfully, the art is a good fit for the material and visually pleasing.
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UNBREAKABLE RED SONJA #2 is a serviceable entry in the series with good dialog, excellent pacing, and interesting plot developments. However, none of the characters have a clear motivation for their actions, and the art is weak.
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UNIVERSAL MONSTERS: FRANKENSTEIN #3 presents a serviceable, penultimate issue to provide insight into Elizabeth's relationship with Henry and create a loose explanation for the monster's fixation on Elizabeth. Michael Walsh's art reverently captures the look and feel of the original film, but the script suffers from pacing problems and a mild retcon that's too clunky to be effective.
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THE VALIANTS #1 provides a modicum amount of comfort food for existing Valiant fans when parts of Unity are temporarily brought back together to fight a threat. If you've been following Valiant closely for the last few years, you'll have no trouble jumping in. However, new readers may struggle with the lack of background and introductions, the lack of editor's reference notes, and semi-rushed pacing.
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VAMPIRELLA (VOL. 5) #17, available from Dynamite Comics on February 10th, 2021, has a smoother narrative style than previous issues but with little substance and uneven art. It's a mild origin story that's more curiosity than must-have, and if you skipped from issue #16 to issue #18, you won't miss much in the overall arc.
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VAMPIRELLA (VOL. 5) #20 goes time-hopping, dimension-hopping, and planet-hopping to make this a difficult comic to follow. If you like the niche art style and finishing a comic with ten times the questions than when you started, this one is for you.
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VAMPIRELLA (VOL. 5) #22 is complicated. The prior arc was a mind-bending, headache-inducing strain to read. This first issue in a new arc is at least more linear, but it carries so much baggage from the prior arc, the new story is getting buried under the weight of the past.
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VICTORY #1 brings the latest Vampirella character to life in her own series when her boring life is disrupted by demons and a pair of supernatural beings looking for help. The setup is fine, but the Whedon-esque vibe and cartoonish art create a tone that doesn't fit the character or the gravity of her situation.
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WITCHBLADE #2 is an adequate character-building issue that shows how Sara is adjusting to the power and amplified senses granted by the amulet. However, Bennett's hyper-focus on Sara's experience pushes the plot, investigation into where the amulet came from, and everything else to the side. Witchblade #2 is a significant downgrade from the first issue.
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X-O Manowar #5 jarringly transitions from one main villain to another that operates without a clear rhyme or reason. The art looks great, but the storys attempt at complexity tips too far into convoluted, and it winds up sounding like word soup nonsense. Theres still a lot of potential for the future of this series, but it needs more clarity in the storytelling going forward.
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X-O MANOWAR #9 wraps up the current arc in a neat little bow, borrowing resolutions from classic sci-fi. The art is solid in this issue (and for the whole arc), but the story makes big things happen in a villainous plan motivated by no other than reason than because he wants to do it. Ultimately, the story strains credibility more than this reviewer can accept, resulting in an arc that ends cleanly but doesnt satisfy.
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YUKI VS. PANDA #5 is a charming, slice-of-life issue about a girl who seeks love advice in all the wrong places. The art is pleasant, and the art combined with the writing draw more than a few influences from Manga. However, the events in this issue have a scene or two that are completely disconnected from the main point of this issue, and the issue is completed disconnected from the events of the arc. If youre keen on enjoying the moment and dont concern yourself with the arc going anywhere, youll find this issue entertaining.
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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.
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JAMES BOND: 007 #3 offers an intriguing premise that promises an exciting adventure for fans of the iconic spy franchise. The inclusion of James Bond in a space setting and the involvement of Miss Moneypenny in the mission add depth to the storyline, providing new perspectives on familiar characters. However, the issue is hampered by unrealistic and contrived plot developments that undermine its overall impact.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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CARRIERS #1 has interesting ideas and mixes two genres (sentient animals and crime dramas) together for something unique. The art execution is truly excellent and the pacing makes this a brisk read. That said, the execution of the animal designs while completing basic tasks doesnt make sense for their bodies, and the suspension of disbelief needed to make this concept work just isnt there.
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CARRIERS #4 is a mildly disappointing entry in the series with antagonists that come out of nowhere and have little connection to the previous issue, art thats wildly inconsistent from the previous issues, and a story that relies on developments that havent happened yet.
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CARRIERS #5 is a strange way to end a strange series. The art is decent enough, and the general adventure is serviceable enough. Yet, the lack of consistency in art between issues, and the overall lack of completion on a myriad of plot threads, make the entire series chaotic and confusing.
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DEAD BY DAYLIGHT #1 brings the hit video game to life about a foursome of disillusioned teenagers about to be called to participate in the ultimate game of hunter and prey. Nadia Shammas's setup works equally well for fans and non-fans of the video game, but Dillon Snooks's work is woefully sub-par.
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DEFENDERS OF THE EARTH #1 is a solid piece of pulp entertainment that picks up from the events of the 1986 cartoon to foreshadow a growing threat to Earth behind the scenes. Dan DiDio's script accurately captures the voices of the characters and builds a palpable sense of unease concerning a potential conspiracy. That said, the issue relies too heavily on intricate knowledge of the '86 cartoon, which may be a turn-off for new readers, and the art is subpar.
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DESTRO #3 is a mixed bag of cool action moments and interesting conversations, but Destro's journey only works if you accept a few forced developments that require you to turn your brain off. Plus, the art waffles between pretty good and poor.
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DISNEY VILLAINS: MALEFICENT #4 improves on issue #3 by telling the equivalent of a short story peppered throughout multiple pages of people walking, horses running, and birds flying. The art is sumptuous, but youre paying for the equivalent of an art portfolio with a little story in the middle.
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DOCTOR WHO: DOOMS DAY #1 is a serviceable first issue in Missys (miss)adventures pretending to be Doctor Who. The pacing, energy, and atmosphere ring true for a Doctor Who adventure, but the absence of logic and an actual Doctor Who are a downer.
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DOCTOR WHO: MISSY #3 is a fun trip down fan service memory lane with good art. Unfortunately, the main hook of Missy pretending to be the Doctor has veered into ‘nonsense' territory, and very little progress was made on the main story.
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EVIL ERNIE (VOL. 4) #4 has a lot going on. Typically, thats a good thing but here its not. Characters come out of nowhere with no setup or explanation, and youre left feeling like one or more issues were left out of the series. That said, the art is great with strong pencils and stronger colors.
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FAIRY TALE TEAM-UP: ROBYN HOOD & MYSTERE is a perfectly serviceable, double-sized issue that teams Robyn Hood with Mystere to stop the Congregation from recovering dangerous artifacts. The action is fine, the basic plot makes sense, and the art looks great. That said, the story lacks motivation, stakes, and fundamental information sharing between characters, so the entertainment is offset by loads of frustration.
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FAIRY TALE TEAM-UP: ROBYN HOOD & JASMINE is a perfectly serviceable one-shot that pits Robyn and Jasmine against ruthless collectors and slavers. David Wohl's story gets readers from A to B, but the number of coincidences that crop up to get you there and the forgettable villains pull you out of the story. Plus, the art is decent but stiff.
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FICTIONAUTS #2 is an incredibly imaginative fantasy story, but the imagination goes a little too far, and the story goes so meta that it was almost impossible to follow what was happening. That said, the art is bold and full of interesting details to capture your attention.
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GARGOYLES #8 delivers a mix of Coldfire backstory, a discovery that puts the gang war plan in jeopardy, and an unwelcome visit from an old enemy. The arcs plot doesnt move forward enough to keep the momentum up, but Coldfires flashbacks make for a good primer on the character. The art ranges from fine to serviceable.
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GARGOYLES #9 puts the simmering mob war on the back burner and slows the overall pacing down for Goliaths hearing to determine if gargoyles deserve protection under the law. Weisman presents a reasonably solid hearing, and Kambadaiss art is decent enough, but this is not a thrilling issue by any stretch.
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GIGA #3, available from Vault Comics on March 31st, 2021, brings Evan into the proverbial “Dark Night of the Soul.” The art is pleasant enough, and readers will learn a little more about Evan's relationship with Aiko, but the net result is a lukewarm simmer rather than a slow burn.
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GRIMM FAIRY TALES (VOL. 2) #83 presents an interesting premise with the team-up of Skye and Belle, offering potential for character development and exploration of mythological themes. However, shortcomings in storytelling execution and mediocre artwork prevent the issue from reaching its full potential.
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GRIMM FAIRY TALES (VOL. 2) #86 starts a witch-centric adventure that brings Gretel to town to stop an ancient evil. Dave Franchini invents a scenario that makes sense, and Kourtis's artwork keeps getting better. However, the narrative construction of the comic feels very disjointed, and the art, while improved, has weaknesses.
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GRIMM FAIRY TALES (VOL. 2) #88 brings the fight with Aradia to a close with urgent fights and a surprise twist about the pocket dimension. Unfortunately, Dave Franchini's semi-strong ending is hindered by rushed, sloppy art.
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GRIMM TALES OF TERROR QUARTERLY: GAME NIGHT sets up plays on the theme of a successful adult getting back at the bullies who tormented him in school. While the setup and the kills are largely inventive, there are too many tedious lulls in the action to hold a reader's attention.
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GUNSLINGER SPAWN #34 looks great and brings new readers up to speed on Javi's predicament after the police shootout, but it's fair to say nothing happens in this issue. Todd McFarlane cranks out a breather issue in every sense of the phrase, but at least you see top-quality art from Carlo Barberi.
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IMMORTAL RED SONJA #8 is one of the weaker issues in the series as the entire issue is composed of only two scenes. One, a poorly choreographed and executed fight, and the other, an informative-yet-tedious conversation. A series that showed such early promise is truly struggling.
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JAMES BOND: 007 #6 ends the Garth Ennis-penned miniseries with a climactic battle, cool visuals, and all the loose ends tied up in a neat little bow. That said, Ennis incorporates more than a few hard-to-swallow wow moments that will have you rolling your eyes, and Lobosco's fight to the death spirals into confusing choreography.
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KOLD (ONE-SHOT) is a difficult comic to digest because it tries to say something but doesnt quite make it. The net result is the story of a terrible man who led a terrible life, and thats all. At least the visuals are effective.
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MAEVE #1 leans heavily on historical facts and accuracy but loses its way when it comes to telling a clear, concise, engaging story. The art looks great, but the dialog is a slog, the pacing is uneven, and the plot crams too many scenes together without any sense of narrative flow.
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MECH CADETS #1 begins a new sci-fi adventure about a team of mech pilots who spend time battling alien invaders and their stuffy military commanders. The characters personalities and designs are memorable, and the cliffhanger is intriguing, but Olivias dramatic conflict with military command is contrived to the point of silliness, and the art needs a little more spit and polish.
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THE GIRL WHO ELECTRIFIED TESLA #1, available from Titan Comics on April 14th, 2021, takes the closest historical events to actual science fiction and wraps it around a unique detective story. With mediocre art and a convoluted plot, the comic is interesting but fails to rise above a novelty.
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MINKY WOODCOCK: THE GIRL WHO ELECTRIFIED TESLA #2, available from Titan Comics on May 19th, 2021, is a serviceable translation of the books to comics but it lacks the artistic flow or script translation that would make it a smooth reading experience.
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MINKY WOODCOCK: THE GIRL WHO ELECTRIFIED TESLA #4 is a weird ending to a weird series. The story machinations are range from the odd to the absurd, and the art ranges from the odd to the bizarre. This is not a recommended read.
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MONOLITH #2 loads up the big brawling action when Omega Spawn and Monolith put up their dukes for round two. Fans of big bruising brawls and brutal fight art will enjoy the issue for what it is, but the inconsistency between the first and second issue and a missed opportunity in a pivotal flashback will leave a sour taste in your mouth.
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MONOMYTH #5 sets up what could be a climactic battle between brother and sister in the finale next month. The arts imaginative, and the overall pacing and energy of the comic are higher, but the rules of magic are frustratingly unclear, and we still have no idea why any of this is happening.
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MONSTROUS: BOOK OF THE DEAD #1 is a serviceable albeit rough story about a family of mummies trying to save the mother of the family from the Underworld. The writing lacks anything remotely resembling setup or scene transitions, but the monsters are fun, and the plot works (sort of). The art is okay, made passable by fairly solid coloring.
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MONSTROUS: HEARTBREAK AND BLOOD LOSS #2 is a weird farce willed with mad scientists, monsters, and strange inventions. The story is certainly inventive but the humor doesn't quite work and the inconsistent art needs some work.
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NATURES LABYRINTH #6 ends the bizarre series with a surprisingly un-bizarre conclusion. Thompson offers a copious amount of flashbacks and exposition to make it all make sense for a reasonably complete, albeit unsatisfying, finale.
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NINJAK #2 picks up the pace and action to pump up the energy, but the experimental art style is showing its flaws in a big way. For the story alone, this issue is worth picking up, but the art is putting a disappointing damper on this title.
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PHOENIX FILES #3 ends the mini-series with a big battle, strong tension, and a reasonably complete conclusion. That said, the art is average at best, and the resolution is a head-scratching move that effectively gives the villains what they want.
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RAT CITY #7 gives readers cool art and builds a few corners of the world, but this title is going nowhere fast. Erica Schultz's script is stuck in setup mode, and the main character, Peter, continues to sit in limbo as a background character. If Schulz has a story to tell, it's long past time to get to it.
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RED SONJA (VOL. 6) #9 has cool ideas and cool character designs, but the uneven plotting and barely finished art severely hurt the finished product. Good panel composition, perspective, and coloring save the issue, but not by much.
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RED SONJA (VOL. 6) #11 tells you a lot about Sithas hometown, which may or may not be interesting to you. The pacing is even, and the dialog is fine, but its all set up with little payoff. To make matters worse, the art is substandard.
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RED SONJA (VOL. 7) #1 mixes Red Sonja's classic adventure with snippets of Norse mythology for a unique adventure with rock-solid art. However, Grnbekk's pacing is devoid of energy, and the plot suffers from a lack of focus.
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RED SONJA (VOL. 7) #15 puts Red Sonja in the heart of a tribe of cannibals, but the end result isn't as entertaining or exciting as it should be. Torunn Grnbekk infuses the comic with plenty of tension and drama, but the effort is offset by the basic plot. Still, the artwork looks fantastic, so the issue is visually enjoyable.
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RED SONJA: DEATH AND THE DEVIL #1 is a perfectly proficient, but ultimately bland, start to a new Red Sonja adventure. Luke Lieberman ticks all the right boxes for plot structure, scene progression, and dialog, but the basic hook reads like more of the same. Further, the art is mediocre at best.
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RED SONJA: DEATH AND THE DEVIL #3 explains the history (almost) behind Bloodless's abilities and brings Red Sonja one step closer to death. Luke Lieberman's sedate script fills in some of the blanks about Bloodless, which may or may not be interesting, and the art is, at best, satisfactory.
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RED SONJA: RED SITHA #4 is a more comedic and slightly hurried finale compared to the rest of the series. The issue skips any tension or drama in favor of quippy jokes and skipping ahead to the good parts just to be done with the whole thing. Combined with the serviceable art, this is a sometimes amusing but largely forgettable ending.
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SACRED SIX #10 fills in a lot of backstory about some players explaining their motivations and history. Unfortunately, you have to wade through a fair amount of noise and jumbled storytelling to learn anything. The art transition to a new artist is very stark but Ramos' style doesn't detract from the story at all.
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SAM AND TWITCH CASE FILES #3 is a gritty, authentic crime procedural starring Spawn's longest-standing supporting characters. Kudranski's realistic art enhances the authenticity of the detective procedural, and Twitch's detective work reads as believable, but the plot lacks drama and energy.
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SAMURAI SONJA #2 is beautifully drawn with solid pacing and energy, but the plot does nothing to get readers invested in a new character, and may even show Samurai Sonja lacks good judgment. The one event in this issue is pointless, doesnt further or help Sonjas challenge, and the resolution doesnt quite make sense. If the goal was to get readers invested in a new character, this is the wrong direction to get there.
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SCARLETT COUTURE: THE MUNICH FILE #3 mixes equal parts planning to expose KlassBank, and a very long but irrelevant flashback explaining the origins of Couture. The art and writing are technically fine, but the unnecessary flashback puts the brakes on the entire story for little reason.
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SHADOWMAN: SOUL EATERS #2 is a positively decent issue that fills in a few minor gaps surrounding Alyssa's association with Darque and spends the rest of the time on supernatural action. A.J. Ampadu pumps up the pace and energy to keep the story moving. However, the script lacks a strong hook or surprise to get readers invested, and the art is subpar.
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SPEED REPUBLIC #3 continues the road trip but its slowing down under the weight of absent motivations from the characters, a race that has no clear purpose, and a drug-tripping chapter that makes little sense in the delusion or out.
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THE BOX #4 concludes the arc with a gangster battle for the ages on Earth and a battle for reality in a magical. realm. The wow moments of the issue grab your attention, and the story wraps up all the loose ends with a relatively neat bow. That said, the blotchy inks sometimes made the panel action unintelligible, and the story the panel progression was so choppy and disconnected, your eye might get whiplash.
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THE INVINCIBLE RED SONJA #3 turns the corner for the series into an interesting mystery with massive brawls, weird creatures, and malicious magic wielders-. However, the muddy pacing and muddier art hold the issue back from being an enjoyable issue to read.
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THE SCORCHED #34 gives readers nice art, plenty of organically delivered exposition to fill in gaps, and not much else. The art looks fantastic, and the information you do get is mildly useful, but this is a filler issue in every sense of the word.
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THE VISITOR #6 has great, action-packed art, and it wraps up the current arc in a neat little bow. However, the journey from A to B is filled with silly action and non-science science-fiction that borders on insulting its audience.
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THUNDERCATS #4 concludes the first arc with first meetings, new alliances, and painful betrayals. Declan Shalvey pours on the relationship building but at the expense of pacing and excitement. Further, Drew Moss's art is a serviceable improvement over previous issues.
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THUNDERCATS #6 delivers a Panthro-centric issue to help the character learn from recent developments, put him in the thick of an almost issue-long fight, and unveil a few important revelations about Third Earth. This issue is one of Shalvey's strongest yet, but the good will of the script is offset by weak, flat, uninspired art.
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TOXX #5 is a story with a powerful message that doesnt overshadow the plot. However, the open-ended conclusion might leave you wanting more.
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ULTRAMAX #2 holds on to its strong, central idea about a henchman in prison for killing a superhero. The kernel of the story is there, and some intrigue involving the warden keeps the curiosity up, but the clunky, awkward art and stuttering scene transitions make the reading experience a chore.
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ULTRAMAX #3 is a serviceable entry in the series with plenty of action and loads of intrigue. That said, the side characters have plot threads more convoluted than a windswept spiders web, and the art is too weak to pull off the amount of action in this issue.
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VAMPIRELLA (VOL. 5) #16, available from Dynamite comics on December 30th, 2020, gives you a whole lot of information in a very short space to prep you for the big meeting between Vampirella and Drakulina. The writing meanders but you still feel like the story makes forward progress, and the art adds a layer of grounded-ness that makes the exposition more authentic. I would recommend this book for Vampirella fans.
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VAMPIRELLA (VOL. 5) #18, available from Dynamite Comics on March 10, 2021, is filled with informative exposition about Drakulonian culture and politics but the net effect is plodding and occasionally dull. The art gets the job done but it lacks energy or appeal. Put together, the overall issue is flat.
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VAMPIRELLA (VOL. 5) #21 explains darn near everything that's going on. While it would have served the arc better to work answers into the story in a coherent way rather than wait for a last-minute info dump, at least there's some closure.
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VAMPIRELLA (VOL. 5) #25 is a strange and twisted end to a strange and twisted series. Despite the erratic storytelling style weve come to expect in this series, this last issue is surprisingly coherent. That said, the series finale is surprisingly anti-climactic and fails to live up to the hype in any way.
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VAMPIRELLA #666 is an intriguing issue with both positive and negative aspects. The mysteries introduced in the Beyond storyline promise a potential resolution to the convoluted timelines established by Priest. The improved artwork by Uron Ergn Gndz, showcasing dynamic figure work, adds to the issues overall appeal. However, Priests penchant for convoluted storytelling may deter new readers, requiring a deep dive into the intricate backstory. Despite its challenges, the issue concludes with a strong cliffhanger, leaving us eager to see where the narrative leads.
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VAMPIRELLA/DRACULA: RAGE #6 concludes the miniseries on a strong note with a compelling cliffhanger leading into the main title. The revelation of Draculas manipulations adds depth to the narrative, and the art is atmospheric and fitting. However, the unnecessary complications in the story and the confusing alignment with the main title detract from its overall quality.
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VAMPIRELLA: MINDWARP #2 hits the nostalgia mark with a cool 1960s vibe and Vampirellas supporting characters from her early days, but Vampirella consistently acts and reacts in ways that dont make any sense. Youll enjoy the art, but the story is quickly becoming a struggle to understand.
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VAMPIRELLA: YEAR ONE #3 gives readers a deeper level of detail about Vampirellas formative years on Drakulon. This art is serviceable, and the details are imaginative, but the whole is less than the sum of its parts. The relationship conflicts between Vampirella, Lilith, and Draculina are well-worn territory, and the Game of Thrones-esque political maneuverings are not interesting.
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WITCHBLOOD #2, available from Vault Comics on April 28th, 2021, has a creative and interesting premise, but the plot structure has some rough spots and the art is a regrettable step down from the first issue.
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WONDERLAND: CHILD OF MADNESS #2 enters the next trial for Calie and Violet Liddles relationship with an angst-heavy reliving of Calies High School years. Gregory creates an authentic mother/daughter experience between Calie and Violet, but their angst-ridden bickering takes up most of the issue for an unentertaining reading experience.
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X-O MANOWAR #6 is a story that has a lot of potential, but the writing doesnt put in the work to craft a story thats believable or makes sense. It presumes the reader is as willing to ignore key happenings just as much as the oblivious characters in the comic. Thats a shame when you consider the work the art team is putting in to produce a visually engaging comic.
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X-O MANOWAR: UNCONQUERED #2 is a jaw-droppingly gorgeous comic about Aric facing off against an old enemy who turned into a new enemy. However, gorgeous art is weighed down by abysmal pacing and ponderous dialog that drags the reading experience to a crawl.
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YUKI VS. PANDA #4 returns after an extended break to deliver excellent character growth and world-building for Panda. However, the main plot continues to be stalled, leaving one to wonder if it would be better to simply wait and jump ahead a few issues. Despite the lack of story progress, the art is colorful and charming enough.
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YUKI VS. PANDA #6 finally brings readers what fans of the series have been waiting for the big fight. IN truth, the art looks great and the fight (which takes up the entire episode) is choreographed to convey as much spectacle as possible. That said, theres no buildup to the fight and this issue arrived five issues too late.
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YUKI VS. PANDA #7 picks up where the last issue left off with a martial arts battle. The entire issue is nothing but one, long fight scene. The art is energetic and fun with a large dash of slapstick, but theres no story to speak of.
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DESTRO #4 is an uneven, rushed, overstuffed issue that introduces several big ideas in a hurry before the finale next month. In fairness, several of those ideas are intriguing, but the rushed execution by Dan Watters tries to do too much while accomplishing not enough.
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GRIMM FAIRY TALES (VOL. 2) #90 follows the Dark One's march to take over Myst by decimating the Dragon Guard. Dave Franchini's script paints a solid picture of impossible-to-beat villains, but the heroes make boneheaded decisions that don't make sense. Plus, the art continues to look uncharacteristically rough.
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GUNSLINGER SPAWN #35 delivers an action-heavy issue that recalls a fight Javi had with a rogue angel in the past. The fight is brought to life by fantastic art from Carlo Barberi, but it ends in a draw, has no relevance to the current arc, and doesn't communicate anything we didn't already know. This issue is a breather in every sense, so get it for the art, but skip it for the story.
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GUNSLINGER SPAWN #36 looks fantastic but goes practically nowhere. Todd McFarlane turns in what could generously be described as a transition issue that mildly moves the characters into position for whatever comes next. If you skip this issue, you won't miss a thing.
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SCARLETT #2 pulls our hero deeper undercover when she's tested beyond her limits to be accepted by the Arishikage clan. Kelly Thompson does a fine job elevating Scarlett and the clan through strong character work, but the art is sub-par, the lack of G.I. Joe hallmarks keeps this story from progressing beyond generic spy fodder, and the interconnectedness with the Energon universe is nowhere to be found.
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THUNDERCATS #7 is another disappointing entry in the series with a plot that doesn't move the needle, a disjointed script that reads like several scenes were left out or cut short, and mediocre visuals from the entire art team. More Thundercats stories are a good thing, but the passion on display is almost non-existent.
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THUNDERCATS #9 delivers an action-heavy issue when the Mu'Tants attack the partially constructed Cat's Lair. Declan Shalvey's script leans heavily on action to keep the energy and interest high. Still, the plot leaves out key bits of information to make sense of what's happening, and Drew Moss's art remains consistently mediocre.
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VAMPIRELLA #668 remains a confusing and frustrating read. Christopher Priests ambitious storytelling fails to deliver a coherent narrative, leaving readers bewildered and dissatisfied. While the series shows potential for improvement, it currently falls short of expectations.
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VAMPIRELLA #669 picks up the pace and the information dumps to explain how Vampirella got stuck in a dream loop, why Draculina wants to keep her in it, and what she needs to do (maybe) to get out of it. The pace is peppy, and the art team's action keeps the visuals interesting, but the biggest point of anticipation is wanting this convoluted mess of a story to be over.
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VAMPIRELLA (VOL. 6) #670 brings the Beyond arc to a close with heartfelt moments, convenient contrivances to shortcut the path to the climax, and an undoing of most of the last few years of Vampirella stories. This isn't the best Vampirella comic by a long shot, but at least it's over, and we can move on to (hopefully) better stories.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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CINDERELLA VS. THE QUEEN OF HEARTS #3 is a silly end to a silly adventure with silly heroes battling silly villains. In fairness, this issue wraps up all the loose threads, and the energetic art is enjoyable, but nonsense for nonsenses sake just isnt strong enough to carry a mini-series.
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THE CITY #1 begins a tale of hyper-violence in a dystopian city when organized crime gangs go to war. The two main characters are captivating and the pacing is solid, but this first issue lacks any setup or context and ends in the middle of a scene, so theres not much meat on this bone except an underdeveloped idea.
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DARKWING DUCK #9 treads water in an issue about nothing when Darkwing Duck moves from place to place at random while steadfastly refusing help. Deiberts story is going nowhere, but Lauros art is excellent.
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DEJAH THORIS (VOL. 4) #1 sets the latest adventure off to a rough and rocky start for the Princess of Mars. Chuck Browns premise feels like a plot straight from an ERB novel, but the writing execution is stiff, jarring, and clunky, and the art execution is surprisingly sub-par.
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DEJAH THORIS (VOL. 4) #2 takes a few steps of improvement forward on the story to bring Deja's survival adventure into focus. However, the art is shockingly incomplete and amateurish.
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DISNEY VILLAINS: MALEFICENT #3 is a bizarre entry in the series because its nothing but a raven flying around the Dark Woods for nineteen pages to search for intruders. Theres no story, no plot, and except for the art, no reason to buy this comic.
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DISNEY VILLAINS: MALEFICENT #5 ends the mini-series much weaker than it started when Maleficent engages in a magic battle against the Kings Wizard. The art is gorgeous, and the battle is visually engaging, but its clear Soo Lee didnt have a story to tell, so the ending is meaningless.
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DRACULINA: BLOOD SIMPLE #6 is a weirdly jumbled mess of a finale. The art looks fantastic, and some of the character developments surrounding Draculina show promise, but the script is so confusing that even the artist got lost in one or two spots.
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FAITH RETURNS #1 sets Faith on the path to clearing her name with an adventure designed to get her back to acting as a hero and connecting her to the Valiant cast of characters. Houser's plot idea makes sense, and Faith's geek personality is on full display. However, the plot details are overshadowed by convenient contrivances, and the art is subpar.
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GRIMM FAIRY TALES (VOL. 2) #89 is a wonky start to a new arc that pits the Shang Gang against the Dark One. Dave Franchini's script is jarringly inconsistent in terms of tone and focus, and the art team's output took a big step back this month.
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KONG: THE GREAT WAR #6 ends the miniseries the only way it could with death. Alex Cox's final issue presents a truly terrifying Kong, enabled by Tommaso Bianchi's excellent artwork, but the story ultimately had nothing to say and arguably doesn't qualify as a story.
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KISS: PHANTOM OBSESSION #1 has an interesting premise and plants some what was that?!? seeds to build curiosity, but the poor dialog and sub-par art really hurt this first issue. This is a recommended buy only for die-hard KISS fans.
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MINKY WOODCOCK: THE GIRL WHO ELECTRIFIED TESLA #3 shifts more fully into detective mode with a very niche, static art style, and a few silly plot devices. While the historical fiction aspects are interesting, this story probably works much better in novel form.
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NATURES LABYRINTH #4 is another issue of random action followed by random action as the contestants race to survive a deadly island. The booby traps are wild, and the art is solid, but the paper-thin plot, impossible developments, and utter lack of character development or motivations make this series tough to get through.
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NATURE'S LABYRINTH #5 is a bizarre penultimate issue for an increasingly bizarre series. The plot developments are mostly random, new characters are introduced without warning and removed just as quickly, and nothing about this game has a point. The art's decent enough, but the story is pure chaos.
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RADIANT BLACK #3, available from Image Comics on April 21st, 2021, gives readers a deep look into the struggles of writer's block. Unfortunately, you can't help feeling the creative team had their own block in making this third issue. There's no story, the superhero alter-ego shows up for 3 pages to change a tire badly, and whatever plot was established in the first two issues is completely ignored.
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RED SONJA (VOL. 7) #13 puts the brakes on the urgency and the momentum from the last issue to show Red Sonja wandering from town to town to avoid capture. Torunn Grnbekk's setup makes sense, but the journey goes nowhere, rendering the issue almost pointless.
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SAM AND TWITCH CASE FILES #5 fills in the blanks surrounding the killer responsible for the web of lies and corruption in Plainfield. Sadly, the big reveal hits with as much force as a soft pillow. The gritty, moody art adds to the serious crime thriller aesthetic, but the lack of clarity in the darker scenes and a poor lettering choice take you out of the viewing experience.
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SAVAGE #3, available from Valiant Entertainment on April 14th, 2021, leans hard into the corny jokes and stops just short of cartoon slapstick. While the art compliments the spirit and tone of the writing, it may not be enough to overcome the dad-joke humor.
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SAVAGE #4, available from Valiant Entertainment on May 12th, 2021, is brimming with cartoonish art and over-the-top gore and violence. The rapid-fire jokes and pop culture references will either make you giggle or make you cringe so hard it's painful.
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SAVAGE RED SONJA #5 has a promising plot concept with its web of double-crosses. However, the rushed execution of the story and the subpar artwork bring the issue down.
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SCARLETT #4 is an oddly paced and ultimately disappointing issue. Kelly Thompson's big reveal about the secret weapon lands with a thud, and the penultimate issue appears to be setting the plot up such that Scarlett won't accomplish any of her objectives. This miniseries is turning out to be the first big miss for the Energon Universe.
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SHEENA: QUEEN OF THE JUNGLE FATAL EXAMS #3 brims with plenty of plot development and solid, eye-catching art. That said, the plot is quickly becoming a jumbled mess because the plots and sub-plots keep growing without a clear picture of the main villain, their motivations, or the stakes.
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SIMON SAYZ #2 is a creepy, gory entry in the series that picks up the pace of the impending supernatural war. That said, the sub-par technical execution, in terms of scene development, transitions, and lettering, makes this issue a tough read.
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SWEETIE: CANDY VIGILANTE #5 is a sugary overload of exposition that fills up the pages, but just like cotton candy, is all fluff and no substance. There is no discernible plot, Sweetie's actions have no apparent motive or direction (other than to make the world a sweet place), and the net result is a bizarre comic that you'll forget as soon as you're done with it.
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SWEETIE: CANDY VIGILANTE #6 is a surreal, sloppy, bizarre daydream wrapped in a head-scratching plot. The story doesn't make any sense, and the dialog is terrible, but at least the art is colorful.
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TALES FROM NOTTINGHAM #6 ends the otherwise steller tie-in series with a puzzling tale about an early conflict between Blackthorne and a vengeful lord. The new character introduced, Ysolda Mercadier, doesnt fit the setting for multiple reasons, and the final issue ends on a pointless cliffhanger.
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UNIVERAL MONSTERS: CREATURE FROM THE BLACK LAGOON LIVES! #4 ends the miniseries with a strong pace, gripping, dramatic action, and a reasonably satisfying ending that leaves room for a follow-up. Unfortunately, the poor explanation concerning Collier's "transformation lands with a thud, mirroring how Kate's hunt for a serial killer is poorly stitched into a Universal Monsters comic.
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VAMPIRELLA/DRACULA: RAGE #4 gives readers a nature lesson on vampire abilities while Vampirella hunts her prey under the sea. The lore lesson is interesting enough for vampire fans, but the main plot is disjointed, clunky, and doesnt receive enough attention.
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WITCHBLADE #4 continues the reboot at a snail's pace. Marguerite Bennett keeps the focus almost entirely on Sara Pezzini's primal desires, turning this series into a corny supernatural romance rather than a Witchblade comic. Still, the action is on point, thanks to Cafaro's strong art.
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WITCHBLOOD #3 improves on the prior issue by its lack of plot holes, but the slapdash art and weak story structure make it hard to find reasons to continue this series.
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X-O MANOWAR #7 is a mess. Inconsistent art. Strange lettering. And a story that jumps from one page to the next with scenes that start out of nowhere, dont resolve, and simply move on to another event.
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YUKI VS. PANDA #10 feels like a step backward as all the big revelations from the last couple of issues are roundly ignored in favor of slapstick humor, mindless action, and yet another irrelevant story thread involving one of Yukis classmates. Its hard to tell if theres a secret plan at work or if the creators are simply killing time.
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MARVELS SNAPSHOTS FANTASTIC FOUR is a novel story with an interesting, surprise twist at the end. Unfortunately, the story is almost 10 pages too long, and the artwork is sub par. Definitely not worth the $5 price, and should be given out for free as a digital strip on Marvel's website or as a supplement on Free Comic Book Day.
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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.
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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.
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COVER OF DARKNESS #4 takes all the promising momentum from issues #2 and #3 and fumbles it with too many disconnected threads, a chaotic narrative structure, and a clone of an Oscar-winning story that lacks all the grace and charm of the source material. Hopefully, the creators can get back on track in the next issue, but this comic is a mess.
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GRIMM FAIRY TALES (VOL. 2) #77 foretells the end of reality when Skye and Sela separately learn dark forces are planning to bring about the end of all things. Franchinis jam-packed script gives you plenty of content thats easy to follow, and the art is serviceable.
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HOLMES & HOUDINI: THE CURSE OF MORIARTY brings the newest hero team back to fight a monster with ties to the famous Sherlock Holmes and Liesel Van Helsing. David Wohl's central concept has promise, and the multi-member art team does a fine job, but the story execution is poorly plotted, slow, and dull.
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JOHN CARTER OF MARS #1 is a disappointment. The writing is clunky, the dialog is stiff, and the scene transitions and overall plot flow read more like choppy rapids than a graceful stream. Combined with cartoonish art that doesnt suit the material at all, this first issue is a letdown.
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JOHN CARTER OF MARS #3 brings the story into sharper focus and lays out a plan for the heroes to stave off an Earth invasion. However, the John Carter is little more than a side attraction in his own comic, and the art is flat-out awful.
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JOHN CARTER OF MARS #4 is a much-improved entry in the series because it clarifies the players and the central conflict. However, Brown introduces even more characters with little setup or distinctiveness, and the overall art quality is downright ugly.
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JUNCTION JONES AND THE CORDUROY CONSPIRACY #2 continues the intriguing premise of a detective chasing down a killer. The premise is weirdly interesting due to its setting in time and place, but the issue falls apart with confusing dialog and chaotic panel progression.
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NINJAK #1 is, in a word, disappointing. The story is decently well-written but wholly unremarkable, and the art is painfully mismatched for this type of comic.
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PROJECT RIESE #4 is a wild, weird, and increasingly psychedelic development in the treasure-hunting adventure. Reading more like a low-budget SyFy channel movie (complete with bad CGI), you may want to get your buzz on before diving in to maximize the possibility of being entertained.
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RAT CITY #6 is a weird filler issue that spends half the pages on a documentary about NYC. To say the plot barely moves is an understatement, so it's not clear if writer Erica Schultz is out of ideas or intentionally wasting time to wait for some future date. Either way, we can't recommend you get this comic.
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RED SONJA 1982 (ONE-SHOT) pays homage to cheesy, sci-fi action thrillers of the 1980s. It succeeds in achieving cheesiness and not much else. At least it's a colorful and well-drawn book.
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SCARLETT #3 takes readers on a non-stop action ride from start to finish with G.I. Joe's greatest spy. That said, much of the action is nonsensical, and the central premise lacks stakes because neither Scarlett nor the readers know what she's trying to steal. Further, the art is just okay. On the whole, this is Skybound's weakest Energon title by far.
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THE TERMINATOR #1 begins a new hunt to destroy humanity with a comic that leans on overly familiar themes and is riddled with too many unacceptable consistency errors. Bland, boring, and inconsistent is not a good way to adapt one of the world's most recognizable sci-fi franchises.
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THUNDERCATS #8 is another disappointing chapter in the series. Declan Shalvey introduces cool ideas and concepts, but the execution, both in the script and the art, is confusing and clunky. Maybe the folks working on Thundercats should ask the teams on Jonny Quest and Space Ghost what they're doing right.
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VAMPIRELLA 1992 is intended (I think) to be a satirical sendup of every extreme trope of the 90s, but despite the admirable art execution, becomes a gross parody of itself.
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VAMPIRELLA: YEAR ONE #6 ends the arc in the weirdest way possible with a Year One story thats not a Year One story and an ending thats not an ending. The action comes off as an unintentional comedy of errors, and the conclusion confirms this series truly had no point or value.
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WITCHBLADE #3 is a headscratcher of an issue that bombards the reader with page after page of meandering narration that says little and accomplishes less. After only three issues, Erica Schultz has lost any sense of pace or urgency, so only the rock-solid art gives readers a reason to pick up this issue.
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ZOMBIE MAKEOUT CLUB (VOL. 1): DEATHWISH is a brilliantly grotesque collection of scenes depicting gruesome violence and body horror. Unfortunately, theres nothing in this volume that remotely resembles a story.
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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.
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DOCTOR WHO: DOOMS DAY #2 is a confused jumble of scenes and ideas that dont come together coherently, and the arc just ends. You dont learn anything about Doom, her quest isnt resolved, and Missy doesnt recover the world-destroying jewel. What was the point?
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HEAVENS REJECTS #2 wraps up the two-parter with silly violence, terrible jokes, a paper-thin plot that frequently loses all sense, and just average art with above-average coloring. This is not a recommended pick.
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HEAVENS REJECTS #3 is a chaotic mess of a comic. The plot makes little sense, scene transitions frequently dont make sense, and the art waffles between just okay and sub-par, with coloring being the one bright spot.
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Theres no clean way to look at JOHN CARTER OF MARS #2. The writing and the art contribute an equal share to the mess. If youre a die-hard John Carter fan, you may be happy to take what you can get. For everyone else, we cant recommend this comic.
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JOHN CARTER OF MARS #5 ends the series the way it began with bizarre, confusing writing and wildly mismatched art for the material. If Dynamite brings John Carter back out for another series, they would do well to find a completely different creative team.
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MONOMYTH #6 concludes the eclectic magic story about an evil wizards battle royale and completely falls apart with off-panel developments, out-of-nowhere contrivances, and jarringly inconsistent art. Its ironic that a mini-series based on the magic of stories cant keep its own story straight.
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PROJECT RIESE #5 presents a penultimate issue filled with wonky plot developments and mediocre art. Kudos to Thompson for stretching the bounds of imagination, but this issue is a struggle to get through.
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REBEL MOON: HOUSE OF THE BLOODAXE #4 ends the Rebel Moon prequel miniseries on a head-scratching note. Filled with violence, dramatically framed moments, and tongue-twisting dialog, the background story ends without explaining how the characters got from here to the films, which was supposed to be the point of a prequel.
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SCARLETT #5 is a pure dud of a finale to a miniseries that was misconceived and mishandled from the beginning. Kelly Thomspon's script injects nonsensical action to distract away from the fact that Scarlett had no role to play in her own story, but at least the art has steadily improved since issue #1.
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SHADOWMAN: SOUL EATERS #3 is going to be a tough read for Shadowman fans. A.J. Ampadu's dialog-heavy issue is compounded by stiff dialog and walls of exposition. The lack of flow is compounded by sub-par art from Sergio Monjes. Not a recommendation.
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THUNDERCATS #11 will try your patience. Declan Shalvey attempts to create new character dynamics and build Lion-O as a maturing leader embracing his role, but the setup is poorly set up and clumsy. Plus, Drew Moss's sub-par art falls short in the figure work and fight choreography.
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VICTORY #2 is an irritating, pointless mess. Walkers obnoxious mean-girl humor doesnt work, the plot barely moves an inch, and the art is inexcusably rough.
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VICTORY #5 brings the ill-begotten mini-series to a close. Walkers opportunity to elevate Victory beyond a clich version of a woman having the power to succeed inside of her the whole time comes off as silly against incompetent demons, and the sub-par art is a poor fit for the mature themes of the script.
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DESTRO #5 is a frustratingly disappointing finale to the self-titled miniseries as the glut of new developments shoehorned into the previous issue are rushed through in this issue to make it all make sense. It's rare to see a creative team do such a poor job of spacing and pacing a story, but this is what poor planning looks like.
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GRIMM UNIVERSE PRESENTS QUARTERLY: 2022 HALLOWEEN SPECIAL has the seed of a good idea about a reality gameshow with an evil agenda behind the scenes. The contestants are eclectic, and the challenges are original. However, the execution of the challenges is chaotic, contestants dont accept the danger right in front of their lying eyes, and the art in this issue is a disaster due to inconsistencies on every level.
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THUNDERCATS #5 pauses after the end of the first arc for an issue-long training and counseling session between Lion-O and Cheetara. Guest Artist Stephen Mooney does his best to fill the gap between the arcs for a character piece that bestows important lessons about life and leadership to Lion-O. However, the art ranges from unintentionally comical to bizarrely inconsistent, and the dialog sounds like a third-rate Shakespeare knockoff. All signs point to a rush job to fill the monthly character.
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VAMPIRELLA (VOL. 6) #671 starts a new arc with the same old mess of convoluted, nonsensical, out-of-order nonsense from Christopher Priest. The plot, if you can call it that, will make no sense to new readers, and longtime readers will be quickly frustrated by Priest's overreliance on multiverse-hopping confusion. Priest and Vampirella are a bad combination that seems to be getting worse with time.
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VAMPIRELLA (VOL. 6) #672 is a waste of space. Christopher Priest's experimental storytelling isn't doing the main character or Dynamite any favors because this comic is pure nonsense, even with the much-improved art. There's no point buying or reviewing this comic any longer.
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DEJAH THORIS (VOL. 4) #3 is a bizarre issue that fails to meet basic standards of quality for the cover price. The writing is silly, stiff, and barely moves the plot forward, and the art is downright amateurish.
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DEJAH THORIS (VOL. 4) #4 introduces readers to one of the more unusual tribes on Barsoom as Dejah and her friends seek refuge. The Grooli are certainly imaginative, but the arc has lost almost all sense of direction, the slapstick nature of the Grooli contradicts the tone of Dejah's dire situation, and the art is terrible.
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In the nicest possible terms, DEJAH THORIS (VOL. 4) #5 is a mess. Chuck Browns writing is stiff, scenes come out of nowhere without setup or a point, and the books hard transition after the midpoint feels like a separate comic was spliced in at random. Worse still, the art is well below professional standards.
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PROJECT RIESE #6 is a disastrous finale to end a disastrous mini-series. Nothing in this comic makes sense, plot developments come out of nowhere, and the art is just okay. We never discourage anybody from purchasing a comic, but we cant say anything positive about this one.
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VICTORY #4 is an oddly unsettling entry in the series as Victory is miscast, miswritten, misused, and abused by everyone around her. Theres nothing remotely similar to Victorys world or life going on here, coming off like a badly written, inappropriately drawn TV soap opera.
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DEJAH THORIS (VOL. 4) #6 is a bizarre ending to a bizarre mini-series that ultimately goes nowhere and accomplishes nothing. Truly, the series just ends with Dejah Throis still on the run and Helium in Moaks control. Its clear Chuck Brown didnt have a story, and Emiliana Pinnas art is too inadequate to lead a series.
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