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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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?

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

ARMY OF DARKNESS FOREVER #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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

ANTARCTICA #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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

TOXX #5 is a story with a powerful message that doesnt overshadow the plot. However, the open-ended conclusion might leave you wanting more.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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?

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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?.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

ARMY OF DARKNESS FOREVER #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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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

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

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

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.

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.

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.

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.

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

ANTARCTICA #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.

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.

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

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

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.

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.

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.

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

BARBARELLA (VOL. 2) #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.

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

BECSTAR #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.

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.

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

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

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

BELLE: 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.

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.

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.

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

BLOODSHOT: 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.

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

BOUNTIFUL GARDEN #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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.