If it wasn’t obvious already, I’m not recommending this book to anyone. It was always going to live or die by its writing, and it’s just not where it needs to be. Pile on some really unattractive characters, with no captivating scenery to boot, and yeah, this one’s a dud. I just read it for free and I’m still annoyed that I just spent my time on it.

Absolute Carnage vs. Deadpool #1 is really underwhelming. A story that should emphasize humor and violence has almost none of it, and its two main characters are written with voices that mostly don’t fit. If your only knowledge of Deadpool is that picture you saw of him on your uncle’s Facebook where he’s riding a unicorn and making some type of comments about chimichangas, then maybe you’ll like this book. Anyone else will find that it misses the mark by a wide margin because it doesn’t seem to know what the audience is there for. I didn’t laugh once while reading it, and I would say that makes it a failure by any measure. Skip this one.

I can’t recommend this to anyone, really. The premise for a great story was there, but this issue doesn’t do anything with it, and I don’t believe that any of this is going to matter down the road. The art has a nice flavor to it, but they drop the ball when they have the opportunity to give us something better. If you’re really interested, read it on MU. I promise you won’t be upset you had to wait.

Venom Annual #1 isn't bad by any means, but I wouldn't recommend it to anyone for $4.99. Sure, there's a whole other store in those 34 pages that I didn't even touch on, but it's not doing the book any favors. The main story is pretty run of the mill in more ways than one, and the art doesn't really wow me at any point. If you just have to pick this up, do it when it's on sale.

Oof. I really hope this was just a fluke, because I want to read a good Miles Morales book again. Even $3.99 would be too high a price of admission for a story that just feels so meaningless, with no convincing character interactions to make up for its narrative. It ain’t eye candy, either. It’s not god awful, but… No matter how much you like Spider-Man’s black suit, or the symbiote, or annuals or whatever, you likely won’t be happy with this book. Skip it.

The Amazing Spider-Man: Daily Bugle #1 is rough. The best thing it has going for it is the dialogue, but that doesn’t really mean anything if the characters aren’t talking about anything interesting. There is no sense of coherence in the art, and you’ll find something on most pages that will break your immersion, whether it’s in the pencils or the colors. This is one miniseries I would not recommend you commit to.

I wanted to like Black Cat #1, because I think Felicia Hardy can be more than just a Catwoman knock off. This ain’t it. The story is bland and does nothing to persuade any reader to keep going, and the coloring is distractingly shallow. Rather than reading this, fans of Hardy will undoubtedly have a better time if they just wait for her to show up in the pages of Spider-Man again. Spend your time and money elsewhere.

I’m not shocked at all to be giving this kind of score to this one. Marvel’s lack of faith was transparent and frankly, appropriate. Red Goblin: Red Death #1’s stories are all over the place, yet relatively tame. This makes for a wholly uninteresting anthology. The art is good but not enough to make you want to stop and soak it in on any page. Maybe if it featured some actual carnage, that would be enough to make it dumb fun, but alas, you should pass.

Maybe this will read better in a trade, but as a stand-alone issue, Spider-Verse #1 did not do it for me. A first issue should never be so uneventful, and MacKay’s misunderstanding of Miles as a character is not doing anyone any favors. The art is at least good throughout, but none of the creators get room to spread their wings and strut their stuff. If you must, read it on Unlimited.

I’m expecting a larger than normal drop off in numbers after issue one. There aren’t any inherently bad ideas here, but nothing is done nearly well enough to keep the reader on board. Bad pacing and dialogue paired with art that constantly pulls you out of the experience makes this a regrettable experience. I’d say save your money for something else.

I can't say that I recommend Venom: The End. Wait for it on Unlimited if you must, but I think you'll be disappointed to find a story with dissonant tones in a crazy series of events with zero substance. The art is the best thing this book has going for it, but ultimately, it feels like it could have done more for the reader. I wouldn't bother with this one.

Venom Annual #1 isn’t bad by any means, but I wouldn’t recommend it to anyone for $4.99. Sure, there’s a whole other store in those 34 pages that I didn’t even touch on, but it’s not doing the book any favors. The main story is pretty run of the mill in more ways than one, and the art doesn’t really wow me at any point. If you just have to pick this up, do it when it’s on sale.

You’d think with a whopping total of 55 pages, I’d have more to say about this book. But like I said, it’s boring. It’s forgettable. If you read this, you’re not going to think about it ever again after putting it down. The conversations are trying to be smart and snarky, but fall flat. The pace is stretched out with unsatisfying pay off. If you’re thinking of picking up this book, just wait until it’s on Marvel Unlimited. Anything that happened in here, you’ll be able to understand elsewhere in one simple sentence. Don’t bother.

I think it's safe to say that for me, this crossover was a dud. We didn't get answer for most of our questions, and the ones we did didn't feel well thought out. This one is all style and very little substance, which is fine, but I know will leave many fans of Eddie and Flash disappointed. If you've come this far, check out the last issue, but if you're thinking of looking at the whole story, I wouldn't bother. Go read Rick Remender's Venom instead.

Spider-Doom preludes have never been actual preludes. They’ve never been actually necessary to understand what’s happening when the main event kicks off. Whether or not I can recommend this book to you depends on how interested you already are in the main character or how the writing makes it entertaining regardless. Unfortunately, I can’t say that it does the latter well enough to justify adding it to your stack this week, but if you’re a fan of Hobie, I say go for it.

Venom 2099 #1 is a pretty by the numbers story. It's good, but only so basic that it doesn't do anything strong enough to make me tell you that you have to go buy it. The art is solid throughout, but without any truly mind-blowing pages, I would recommend you check this out on Marvel Unlimited than pay full price for it.

Spider-Man & Venom: Double Trouble #1 is fine. If you are a die-hard Gurihiru fan, then you obviously won't be disappointed. I could understand someone wanting to pick this up just for the adorable art. Those hoping for a fun-for-the-whole-family script will be a little disappointed, but the youngest will have a good time. This wouldn't be a bad place to start reading comics at all.

I don’t think anyone is going to remember this story once a few months have passed. When something as basic as your setting raises this many questions, you’ve got a problem. It’s not making it any easier to rewrite an already well-done origin for a character. I mean, Miles’s origin as a super hero was the only really good thing about him (please don’t shoot me). Why change it when you could actually be finally taking the character in a new direction? Probably because we have to wait for the movie to come off so we can ride off that sweet, sweet synergy. I wouldn’t bother with this one.

I can’t really recommend this book to most people. If you’re a diehard Abrams fan, you’re going to buy it anyways. Anyone else will be left underwhelmed by dishonest marketing, a so far uninteresting hero and villain, and art that usually doesn’t go all the way to make you believe what the book is trying to tell you. I can only recommend this book if you’re up for a passing-the-torch story, but even then, it’s kind of unoriginal.

Aside from some really solid visuals, I didn’t find anything in this book that has me tempted or curious to see where it is going. That’s not to say there’s anything bad about it – just nothing remarkable. If the noir setting is absolutely your thing, then you probably don’t need me to tell you to pick this up. Otherwise, I would check it out on MU if you’re interested.

Fantastic Four: Prodigal Sun #1 is a fine read, but it doesn't offer enough to make most people want to continue the story. The art is surely the best thing about the issue, but the writing leaves a lot to be desired, even if it isn't bad. Only serious FF fans should pick this up.

The visuals are without a doubt the saving grace of issue 19 of X-Men Gold, but they can only do so much for such bland writing. They try to have memorable moments, whether they're of romance or mutants kicking ass, but I feel that no one will find any of them to be successful in staying in their minds after putting the book down and searching for something that will give them what they're really looking for. This isn't a bad issue, just an aggressively mediocre one. If you're looking for your X-Men fix, I would check out one of the other twenty books being released.

Venom fans will want to check out Web of Venom: Wraith #1, if only for the lore. That said, I don’t think they’ll be disappointed with the story they’re getting. It successfully creates a narrative that is desolate and builds tension subtly. At any rate, be sure to give this a read one way or another before King in Black comes out in December.

That’s a bummer. Stegman’s shown he can write before, and most of my problems with the story actually start with issues that Cates wrote, but the events of this issue still don’t do enough to make this story as enjoyable as it could be. Fans of symbiote/tentacle horror will get a few good auuughhhhs out, but I don’t think there’s much here for people to share anyway. My least favorite Web of Venom issue. Only the most die-hard symbiote fans will want to pick this up.

Web of Venom: The Good Son is an important chapter in the unfolding saga of Venom vs. Knull. Many will want to pick it up for that alone. The writing is solid, but at the same time, no moment really makes this book stand out to me. Because the art is kind of hit or miss, I can’t say that everyone needs to read this right away.

Web of Venom: Cult of Carnage #1 is probably the least important of the WoV entries so far, but it feels like a work of art deserving of your time and money nonetheless. The story puts you against great odds with little hope and plenty of slaughter, while being grounded by smaller, more personal stakes than usual. Tied together by great visuals throughout, this is a good read all around.

Without even talking about the quality of its presentation, I can say that I do not recommend picking up Funeral Pyre just because of how little happens in this $4.99 book. Literally all you need to know from here on out is that Andi is in New York again. It would have been easier to talk up if we were given any kind of introspective character moments or more consistent art, but sadly, that’s not the case. Don’t check this one out.

At the end of the day, I’m pleased to feel like something actually happened when I read this book, even if the execution left a little to be desired. If you’re looking thinking of seeing what Miles is up to these days, I can recommend you give this a shot, but just barely. Brian Michael Bendis leaving the book is something that I think will be good for everyone involved, so I’m looking forward to seeing what happens with Miles afterwards.

Sinister Six Reborn is a story that’s been giving me mixed feelings. It is so far a solid, entertaining story that feels fairly unoriginal and fundamentally unnecessary. If you’re someone that’s never read a book starring Miles, this would be a fine choice to start with, but you’d be much better off reading his beginnings anyway. If you’ve been keeping up, this does progress things in a suitable and sufficiently satisfying way. It’s worth reading but only if you’ve been dedicated to this volume all together.

I think I’m going to take a break from this book. I simply can’t imagine anything being done in the remaining two issues that will make this boring and costly endeavor worth the trouble. Miles Morales is a character I genuinely like, but it is way past time for him to have a new writer. Until that issue rolls in, I’ll get my fix from Champions, which is also getting a new writer. I’m going to recommend that everyone skip on this book. It didn’t have enough redeeming qualities to make it enjoyable now, and the future doesn’t look good enough to invest in. Pass.

I’m holding on to my sentiment that the Search For Tony Stark will ultimately have no need to be an eight issue arc, but I also realize that I shouldn’t complain too much when I’m still enjoying what I read, to a degree. At some point (specifically the next issue), though, this needs to start moving. I can only tolerate such little progress at $3.99 a month for so long. If you’re already on board the Stark search party, you shouldn’t skip this issue. It’s got the everything that’s kept you from abandoning the book for this long. If not, you’ve probably already decided to wait until #701 when Dan Slott takes the wheel.

On the whole, this issue made some decent progress for the story, but only by pushing things out of the way as quickly as they were introduced. It’s nice to finally see Doom get more attention, and his parts were the high points for me. The book altogether feels a little dragged down by ideas that either weren’t fully thought out or were very obvious filler content. Treading water is never a good thing for a book to do. If you’ve been with it so far, check it out, if only for the Doom parts.

There’s a part of me that likes this issue because it has some actual reason to exist, and there’s another part that’s annoyed that the arc couldn’t have been like this from the start. The ideal scenario would be to maybe pick up part one and then skip all the way to this issue, part six. You can easily fill in the tiny blanks that you’ll have and not miss a thing. If you have been on board already, don’t stop now. This is what you’ve actually been waiting for. If you haven’t at all, stay far away.

If you’re interested in Iron Man, wait for the new number one, obviously. Do not buy this book. It’s a mess. It’s sloppy, it’s rushed. It barely makes any sense. It does not reward those of us who’ve been with Bendis’s Iron Man for a long time, but instead just fakes an emergency phone call, gets an Uber home, and leaves you with the bill after inviting you to dinner at the most expensive Italian restaurant around. Pass.

Black Cat Annual #1 is a lot of fun. It’s not non-stop, but if you’re like me and secretly favor Feleter over PJ, you’ll definitely enjoy this enough to be happy with the price. The pencils and inks range from good to great, and the colors are mostly solid. If this wedding piqued your interest, you won’t regret checking it out.

Ghost-Spider #1 is not something I think longtime fans of Gwen will get a lot of enjoyment out of, as it lacks a lot of what made her series special in the first place. I can’t really say it’s right for the Spider-Verse crowd for the same reason. All in all, it’s a fine enough issue but comes up short in writing and art. If you really want to check this one out, I would only do it if your pull is light this week. Otherwise, wait to find a back issue.

The Black Cat Strikes #1 is a really solid first issue. I was surprised to find how much new content there was in the story, even if it’s very standard for Spider-Man. The dialogue is weird at times, but those of us that are here for the Peter/Felicia tension will be happy. Maresca & Rosenberg give this book a major advantage with crisp, fluid visuals that bring the scene to life. I’m going to go boot up my PS4 now.

Spider-Force is fine. Honestly, I’m surprised I wrote as much as I did about it, because after reading it I really didn’t think I had that much to say. It’s not offensive in anyway, but this #1 doesn’t hook me in anyway. I don’t feel like much consequence is going to come from this suicide mission, which is probably one of the worst thing you could say about such a story. The line work is great but at the same time never does anything to amaze you, but maybe it would look better if the colors weren't so depressing.

Spider-Man and the League of Realms is a book I can only really recommend to fans of both Spidey and the Norse mythos. Sean Ryan does write the web head well, and I can definitely say I did enjoy this story… but not so much that I’m really going to recommend it to someone who’s just a Spider-Man fanatic. If you check both boxes, then you’re in for a good time.

At the end of the day, Spider-Man 2099 #1 is a good comic. Unfortunately, it won’t be greeted as well by readers because of its tie-in nature. This is most definitely a single chapter of a greater story, and how much you enjoy this depends on whether or not you’re up for that. It’s a good character-focused issue with solid art. Just know what you’re getting into before you buy.

If you wanted to read about Jane Foster at the gates of Valhalla, I’d read Mighty Thor #706 instead. That’s not to say that I didn’t like this issue because it’s subtitle wasn’t literal enough for me. It’s because I feel that that issue had more weight to it. The art is enjoyable throughout, but I found myself wondering what exactly the point of this one shot was since it doesn’t say good bye to Jane or “hey again” to Odinson in any meaningful way. It’s a no from me, dawg.

As you may have guessed, your enjoyment of this depends pretty heavily on how you feel about Venom. It's fun nonsense action that sets up its premise in a solid way. Clean, bright art makes it consistently fun to flip through. Check it out if you like Venom and didn't hate the Poisons. This could be the book to win you over.

So begins the countdown for the next issue. Seven days isn't so bad, but I don't think it really makes up for the slow pace when it's only a five part story. By the time I finish issue three, we'll already be done with sixty percent of the event. It had better see some plans going in to motion and our heroes up to speed so that the book can finally feel like it's going somewhere.

Venomized is very steadily declining. We’re already almost done with what is – need I remind you? —the third Venom event featuring the Poisons in seven months. You’d think since he pitched so many ideas in rapid succession, Bunn would have a clear idea for what it is he wants to do with them. But this appears to be the end, and I hope it truly is. The book looks good for the most part, but it’s not enough to save it from bland villains, bad pacing, uninspired dialogue, and questionable decisions at almost every turn. As the great Jeremy Jahns would say, you’re not going to remember it in T-minus one day.

This issue of Venomized pretty muched sealed the deal for me in a few ways. I was on okay terms with the story so far, but I thought that two issues might be enough space for Bunn to pull out the big guns to wrap things up in a way that might leave me wanting more when I wanted none of it in the first place. Sadly, #4 was a step backwards in both writing and art, and there’s no way that this could possibly be salvaged in just one issue. And now that I think about it, nothing really important happens here. You could skip from #3 to #5 and you could immediately fill in the blanks. So if you have been reading Venomized, save yourself some time and dough and just skip to #5 next week. If you’ve steered clear of the event entirely so far, congratulations. You’re smarter than me.

If I can speak now more about the Poison stories as a whole rather than this issue itself, I am without hesitation going to recommend that you skip all of them. If you’ve been on it so far, I can’t imagine why you’d listen to me telling you to bail now. If you’re waiting for the trades, save yourself some time and money. The Poisons stories generally fail consistently. Bland villains, no real threat, no genuine message, bad pacing – this is one that I definitely won’t be going back to.

This issue didn’t quite suck me in like other Cates number ones have, but it scratches the itch for cosmic Marvel that’s been absent or rather mediocre since Duggan’s Guardians ended. There are nitpicks to be had but the plot has clear potential. It’s not all it could be presumably due to some deadlines and uninteresting shading, but the art serves the story well enough and might improve in turn.

Guardians of the Galaxy #2 is a fine follow up, but I wouldn’t call it a must read. Die-hard cosmic fans will want to pick it up, but everyone else will be okay if they hold off for now. The character moments don’t pull you in like they should, and the art is fine when the colors aren’t being distracting. I’d maybe wait to read my review for next issue.

I enjoyed Marvel Knights 20th #1, but not so much that I’m dying to get my hands on the next issue. I’m not quite so intrigued just yet, although mystery thrillers like this usually become more fun for me when the answers pour out. The visuals are solid at worst, with the coloring and focus adding the most personality to the spectacle. Check it out if you don’t mind amnesia stories.

Marvel Knights 20th is a pass for me so far. It’s apparently out of continuity and frankly just not doing enough—fast enough—to hold my interest. An overall clunky script that isn’t done any favors by the pencils, can only be improved so much by solid coloring. If you were on the fence after last issue like me, skip this one.

If there’s anyone I can easily recommend First Host to, it’s fans of Mike Costa’s Venom (there’s dozens of you!) or maybe even Michelinie’s. It’s fair to suspect that Costa might have been cut short on his time with the character, so if you wanted him to see it through, this may be your last chance. Barely enough actually happens to warrant picking up this issue instead of waiting for the next, but the writing is entertaining enough to make up for it. Mark Bagley’s Venom is an automatic approval and I don’t think many will argue with me there. All around a pretty solid start that I don’t think you’ll regret checking out.

Venom: First Host #2 isn’t exactly worth the price of admission. Yes, some important steps are made, but they can be summed up so quickly since the story is going exactly as you would have guessed so far anyway. If you buy this one, I don’t think you’ll regret it, but at the same time, I not going to go out of my way to recommend it to anyone unless they really, really enjoyed the first issue. But maybe Venom crying will make this issue a hot collector’s item.

Another A+. As someone who enjoyed what Dan Slott tried to do for Peter Parker, I couldn’t be happier with what Nick Spencer has brought to the table so far. It’s a great jumping on point while building on what came before. The artists of the book, while not my favorite, certainly make it their own and make each issue all the better for it. If you’re scared that the team had only caught lightning in a bottle before, worry not. This one has got to stay on your pull.

If you’re like me and you’ve been ready for the whole split personality thing to wrap up, you’ll be disappointed if you really don’t like it that much, but I’d be willing to bet that most people will agree Spencer does enough with it to still make the story entertaining enough to justify picking this one up. The visuals can be a little wonky, but overall are pleasing to the eyes and match the tone of the issue well. Check it out if you don’t outright hate the gimmick.

I’m very happy to see Amazing Spider-Man picking up steam again. Everything about Spencer’s writing is so beautifully executed, it’s got me itching to go back and read Superior Foes again. Ramos and Victor Olazaba create a very flexible but overall fun perspective and Delgado ties it all up in a neat bow. There's no need for me to qualify buyers here. I simply have to recommend this book to any and every reader. Go buy it.

So the art wasn’t totally what I wanted it to be, but this was still a really great issue to me. Issue 8’s cliffhanger had us worried but Spencer handles Felicia gracefully. She’s cool and sexy without being completely ridiculous, and this chapter shows us more of her actual feelings. Always a good thing. And that all applies to Mary Jane, too… Go buy it!

This is a weird one. There’s progress, but at the same time the story is meandering. There’s not as many endearing character moments that have made the series shine thus far. I don’t know what else I can say about the art. 95% of readers won’t like it. All in all, Amazing Spider-Man #14 is easily the weakest issue in the series. Oh, and who in their right mind is buying this cliffhanger? Nobody. Only serious fans of Spencer’s run should pick this up.

A solid start to a story that I hope will live up to the hype. It’s not without its flaws, but I think anyone who picks this up will be satisfied and on board for the next issue. Decent artwork, elevating colors, and an excellent setting for Spidey make me excited for what’s to come. Check it out.

As I said, Part 2 of Hunted is a considerable drop in more ways than one. The events that transpire just don’t hold your attention as well as the previous ones did, and the artwork takes a serious turn into wonky territory. Anyone who isn’t a fan of Ramos’s work already will likely not be able to enjoy this issue at all. It’s a shame, but we still have enough issues left in this story for things to get back on track. Here’s hoping.

The HU titles now officially have my full recommendation. It’s clear that Nick Spencer put much thought and effort into them, rather than them being an editorially mandated cash-grab. I’m sure I don’t need to tell you why it’s important to flesh out some of these lesser known characters or fill out recent timelines of the more popular ones. It’s all painting a bigger picture with greater detail. That alone should be enough, but the interior art just sweetens the deal. Pick this up.

If it didn’t carry information that’s clearly going to be crucial to the coming issues of Amazing Spider-Man, this one would probably get a pass from me. It lacks the pathos that made the other HU entries such engaging reads. It’s not bad by any stretch of the imagination. It just doesn’t do anything too interesting with its content. Pick it up if you’ve been following Hunted. Just don’t expect to be blown away.

I wouldn’t call Hunted a straight dud, but it could have been so much more. The pacing has been its most obvious flaw, and the logical gymnastics that the resolution had to give readers will probably leave many scratching their heads. It didn’t help that the spin-off issues had much better artwork than the main story did. I… liked Hunted overall, but I find myself thinking about its potential more than its reality. I’m ready to move on.

Amazing Spider-Man #24 is one of the most important issues of Spencer’s run. Not too much happens, but if you can call it a slow burn, it’s the best kind. It is mostly set up, but it’s done through subtle and entertaining writing, with perfect visuals to seal the deal. Every Spider-Man fan should pick this up.

This is a fun issue of Amazing Spider-Man, especially if you’ve been relishing in the absurdity of Spider-Man paling around with Boomerang. It delivers on that end, even if the art leaves a little to be desired. It’s one of the more unremarkable issues of Spencer’s run so far, but fans should still pick it up and expect a good time overall.

I’m happy to say that I definitely recommend this one. Even if you have zero interest in Absolute Carnage, Amazing Spider-Man #30 has plenty to make it stand on its own, and could prove to be very important to the series later on. It’s impressive that Spencer managed to make all fronts of the script work so well, and having this art team back together would be enough on its own to make me want to check this out. Buy a copy and enjoy.

Amazing Spider-Man #36 doesn’t give this arc what it needed to be redeemed. It’s hard to care about anything that’s happening, and there aren’t any real surprises in store. I think it’s safe to say that this is at the bottom of Nick Spencer’s stories on Spider-Man so far. The art is alright at best and otherwise jarring, and the same can be said for the coloring. If you read in trades, I would skip this one entirely. If you’ve been reading the floppies, prepare to be whelmed.

Despite Spencer’s insistence on recapping what we all know in valuable page space, Amazing Spider-Man #41 is a strong addition to his run. By leaning into the cringe-inducing yet lovable nature of Spidey and Boomerang’s relationship, he gives us a story that is brisk and comical while still being genuinely intriguing. Similarly, by working together to make each page striking , the art team reinforces what makes the book fun. Readers will be happy with this one.

This is a fine issue by its own rights, but when looking at it in the greater scope of Nick Spencer’s Spider-Man (that we as the readers can be aware of right now), it’s hard to believe that many fans are going to be enthralled by this issue. That wouldn’t be a huge deal if the delivery were excellent, but the writing and art sometimes drop the ball in communicating elements to the audience. This is entirely a teaser issue, so if you’re not already all in on Spencer’s Spider-Man, I don’t think you’ll regret waiting for this one on MU.

If you’ve been counting the days till the Sin-Eater’s return, you won’t be disappointed. This is a really solid start to this story. I’m a little hesitant to see how the whole thing plays out, but this is an excellent reminder that Spencer knows how to set the stage when things get serious, too. Bagley’s art is great as ever, and the setting means that he and Curiel get to do great things with the environment in each panel.

Obviously, readers won’t want to miss this issue. This is a pretty satisfying, if predictable, ending to one of Spencer’s strongest arcs on the series. There is one weird moment in particular that will probably take you out of the story, but I found the character moments and the strong artists made the overall experience a good one.

I think it’s safe to say that this is perhaps the most important issue of Nick Spencer’s Amazing Spider-Man yet. The issues that I did have while reading weren’t necessarily with the single chapter by itself. This story continues raising the tension built by the previous arc, while finally giving us some long awaited answers and plot development. Gleason and Delgado nail the tone throughout, with awesome character work and excellent framing. Don’t miss this.

Amazing Spider-Man #51 is another excellent chapter. Each time I think the tension has peaked, it gets higher still. There is a strange detour, but the story otherwise nails the feelings and beats that Spencer is going for. Gleason and Delgado give this book a lot of reread value with awesome action, acting, and shading.

As usual, this .LR issue is really required reading for Spencer’s Spider-Man story. Thankfully, it’s worth the price of admission. There are some questionable or concerning elements, but the ride is enjoyable especially thanks to fantastic art from Vicentini and Menyz. Give this a read.

I’m not one of those people who has been really annoyed with Nick Spencer for dragging his run out, but even I have to say that Amazing Spider-Man #53 is going to anger a lot of readers. Especially after such a promising cliff hanger in the last issue, it is very disappointing to see so much of nothing happening here. Bagley is great and Delgado probably adds the most to the book’s quality, but unfortunately, I feel that their efforts are mostly in vain since so much of the book is just… nothing. A part of me says that 3/10 may be a bit harsh, but when I remember that this book is $3.99– yeah, no.

The art is pretty solid, but I do feel there is a step off. I loved the front half by Vicentini. His work is very sharp and clean, and there is so much depth and dynamics to be found in his action pieces. He does a great job at selling just how brutally fast Morlun is. Miyazawa’s half, following the Order of the Web in Peter’s psyche, is presented in a much more traditional layout. The cliffhanger is a standout page, making excellent use of a perceived field of depth. I think the Spider-Folk can look just a little wonky in some instances, but I can’t complain about too much here.

Amazing Spider-Man #54 should have been last week’s issue. We still don’t get the answers we’re looking for (and I guess we should just accept that at this point), but it is still a satisfying and engaging confrontation that we’ve been waiting for for so long. Spencer deserves praises for taking the book to a darker place without making it obnoxiously edgy, and Bagley, Dell, & Delgado prove themselves yet again to be a consistently strong visual team.

Once again, I’ve had a lot of faith in Nick Spencer’s story telling for a long time, but this is ridiculous. Don’t expect much out of this one – certainly not any sense of finality. The art is great, but that’s really all I can say for it.

I can't say I would recommend this book to just anyone who enjoyed Spider-Man on the PS4, but if you're one of them and you're interested in Spidergeddon to begin with, then this is absolutely the book for you.

So far, I think I like this more than Spider-Verse. The first issue gets the ball rolling quickly, so it feels very much worth your time and money. Spider-Gwen fans like myself may be disappointed, but everyone else is in character. Molina and Curiel craft an exciting, fun world in a time of serious potential for tragedy. If you’re a fan of Spider-Verse, check it out.

Spider-Geddon so far has been fun and unique enough, but this issue was a step back. It’s not without great qualities, but it’s bogged down by oddly placed developments that are weirdly under developed. The art is the better half of the issue, but it could be elevated further if the perspective was backed up to let us breathe. If you haven’t been hooked by the first two issues, then this is a good issue to bail on.

Spider-Geddon feels rather unfocused. Changing rules left and right and acting out of character, it makes me certain that this book won’t be remembered in a few months. Yeah, a couple heroes died. They’ll be back. Because nobody cares if the story itself is presented like this. 6/10, but just barely.

Spider-Verse was better. The movie was the best. If you want a multiple Spider-Man experience, just go see the movie. It’s not just better in comparison; it’s one of the best super hero movies ever. Spider-Geddon isn’t worth your time and you’re not going to remember it in T-minus one week. It’s mainly unfocused and solid art only does so much for such a mediocre story. Pass.

Absolute Carnage: The Immortal Hulk #1 is another great tie-in for this event, pushing it as whole further towards being one of Marvel’s best in years. Ewing rewards all kinds of fans by making this a book that really matters to the story he has been telling. The art can be a little wonky, but it does much more to elevate the book in total. Give this a read, especially if you’re an Ewing Hulk fan.

The Amazing Mary Jane #1 is solid start to her first solo outing. Williams writes a lovable and believable MJ that you can get behind, navigating appropriately absurd circumstances to give her plenty to speak her mind about. It’s funny and heart-warming, with art that strongly enhances the qualities that make it both of those. MJ fans can check this out and expect a pretty good time.

I’m afraid that this issue may disappoint some readers only because of the implications of its title vs. the actual story, but that story is certainly good enough by its own merits. I haven’t been 100% onboard with this arc, but Spencer is pulling me in by ramping up the tension with each new chapter. The artists communicate so much in each panel while maintaining an appreciated room for subtlety. If all that doesn’t sound good enough for you, you’ll want to read it anyway because you’ll otherwise be pretty confused when the next issue comes around.

The Amazing Spider-Man: Sins Rising Prelude #1 is undoubtedly an improvement over previous attempts to get readers excited for the upcoming arc. It feels substantial, even if the substance isn’t always totally fulfilling. At the end of the day, the creative team did exactly what they set out to do: tell an unnerving origin story that sets up more to come. I wouldn’t quite say that it’s mandatory reading, but you certainly won’t regret picking this one up.

If you’re a fan of any of the three writers on this title, I would recommend picking this up. Odds are, if you like one of them, then the others will be just as fun for you. The stories are fun and quick, with solid-at-least visuals that tie everything together. Give it a shot if you’re itching for some older style Spider-Man.

If you love horror, I'd say you can pick this one up and have a great time with it. It does suffer a little bit from its own order of events, but there's a fair amount of variety to be found in all five tales. They can't all be everyone's cup of tea, but the artists and colorists bring different energies to the book and it's better for it. You'll have fun with this one, I'm sure.

All in all, Fantastic Four #2 is an enjoyable issue. I just can’t help but feel like we’re getting pulled around here, like Marvel definitely wants to shake us down for $3.99 (at least) as many times as possible to see the family back together at last. I think many people will be annoyed that that doesn’t really happen in this issue, but the issue still has enough to offer in family shenanigans and awe-inspiring scenery to be enjoyable. I’d say check it out, but adjust your expectations that last issue set.

It’s hard not to recommend Giant-Size X-Men: Nightcrawler #1 simply because of its necessity to Hickman’s overarching story. There are key developments here that I would hate to miss out on. Those developments are engaging for readers, but Nightcrawler fans may want to reassess before jumping in. The art is an excellent fit for the issue, enhancing each moment’s tone and impact in subtle yet remarkable ways.

Gwen Stacy #1 is much more than readers will be expecting. The cynics will call this another cash grab – “Who asked for this?!” – but readers will be delighted to find proof that Gwen Stacy is a great character even without Peter Parker. The visuals nail the tone on every page, creating a feeling that can turn on a dime when it needs to. You won’t regret giving this one a read.

The Immortal Hulk: Great Power is not what I thought it would be, but it exceeds my expectations regardless. Taylor is careful to make sure that this book isn’t just crazy – it has the depth that makes a good story, too. The visuals tie it all together in a spectacular, stark kind of way. Give this one a read.

This obviously isn’t the She-Hulk that many have been waiting for, but it completely works in the context of Ewing’s Hulk story. His script makes every character, even those not important for the main Hulk title, feel like a real person that you can learn a lot from. Davis-Hunt and Menyz excellently realize Ewing’s intent in each scene while bringing their own value through smart sequential storytelling. Definitely worth a read.

There’s a few things to consider when deciding whether or not this book is right for you. Are you a Darkhawk fan? There’s dozens of you! You should obviously pick this up. If you’re not necessarily a fan of him but are interested in Infinity Countdown, I would say maybe just wait until next issue. This one doesn’t really have too much that you won’t be able to quickly understand just by context in the next.

This is probably the most difficult comic I’ve ever had to write about. Its structure makes it hard to analyze in a traditional way compared to what a normal issue would be like. Marvel Comics #1000 does what it sets out to do on each page very well, but some are definitely more interesting than others. I’m giving this a positive score because of the generally upheld quality throughout, but at $9.99, this is still something I can only recommend to die-hard Marvel historians.

The plot kind of moves in circles, but the book represents these characters well enough to satisfy the fans. Not a must but you won't regret your purchase either? Yeah, get it on sale.

Jane Foster: Valkyrie #1 is a promising start for the series. Expertly delivered exposition, interesting questions about the future, and personal stakes are a perfect recipe for a new beginning. Top notch art solidifies the book in its place in the charts, sure to be one of Marvel's biggest hits. Check it out.

As far as crossovers go, this is one of the more enjoyable ones I’ve read in a while, but I’m not going to say it’s a must read. The fast pace gives everyone a moment to shine through art that fits the characters well. It doesn’t look like these events will matter to Eddie Brock or Peter Parker once the omega issue has come and gone, but if you just can’t stand Flash Thompson being sidelined so unfairly, then you can give this a shot.

Venom #161 shows that Mike Costa is capable of stories more engaging than what he’s given us previously. Despite out right ignoring years of character development for Venom, I would say that his run on the character so far has been decent, but I believe he holds potential for more memorable stories like what we got today. Since this is a one-off I can recommend any fan of Venom, or Spider-Woman, to check this out, even if you haven’t been keeping up with the title to this point. It’s deeper than you’d expect and so visually pleasing.

This wasn't bad, but I am disappointed. People who are only interested in this book because they like it when Spider-Man kills bad guys will likely be satisfied, but even then, he's mostly just shooting them in the chest. It's not particularly gory. Those that wanted an analysis of what makes the Punisher and Spider-Man so different or what they might actually have in common will probably feel let down entirely. The art is enjoyable, but not so much that it makes this book a must read. If you want to know whether or not to give this one a chance, just go back and figure out which category I listed that you would fall into.

All in all, my problems with this book all stem from symbiotes. The abundance of them, acting out of character, or just not looking so good. The X-Men themselves are supposed to be the focus of at least this issue, and seeing things from their perspective is a good way to keep my attention until it switches back to Eddie. This is a fine set up for the crossover, so if you’re not sick of them yet or you’re an X-Men fan and have paid them no mind, there’s no harm in looking into this one.

I hope the structure of the first arc of Jason Aaron’s Avengers was just suffering from some sort of editorial push. If the book keeps up like this, it will be exactly what we wanted from the start. Avengers#7 takes a giant step forward in pacing, dialogue, structure, and equally important, the art. It all meshes together so much better. If this run hasn’t been your thing so far, give it another shot.

It’s a no from me, dawg. Not a hard one, but I just don’t think it’s worth the price of admission. Get it on sale if you’re that curious. Anyone seriously miffed by Aaron’s treatment of, say, Jennifer Walters will be happy to see that he’s at least not ignorant of the character’s usual being, but maybe he shouldn’t have waited until issue eight to say something. Some great visual performances help elevate the book, but visually it’s still not interesting enough to keep things healthy and above water. Especially if you’ve been wary of Aaron’s Avengers, hold off.

It’s not without its missteps, but King in Black #1 is a promising start to the next big thing for Venom and Marvel. It’s rare that a writer can make the stakes so believable in one of the line-wide events that seems to come and go every year. The visuals are fantastic as well. There are many moments that will make readers pause so they can soak in everything there is.

The cool thing about Venom’s story now involving the larger Marvel universe is that Stegman and Mayer get to really show their skill. Their ability to clearly communicate such a wide range of characters’ personality traits through their acting is nothing short of astounding. Stegman’s work feels very deliberate and in sync with the words provided by Cates, making for a very cohesive experience on every page. Finally, Frank Martin has more opportunity to direct his coloring effort towards emotional effect in this issue, and it pays off. Without getting into spoilers, his lighting choices significantly raised the stakes on more than one occasion in this issue.

Unfortunately, there’s no full on symbiote teeth bared yet, but if you can look past that, this is a solid introduction to a new chapter in the Spider-Gwen story. It can feel a little like the dialogue is trying too hard at times, but the story kept me interested. The visual artists are making a much appreciated effort to make long term fans of the series feel at home. If you’re a fan of the character, you can have a good time with this one.

This is a fine issue, but it doesn’t make me want to pull the book again. It’s drawn out exposition can make it feel like a step back in some ways, but Gwen’s world and supporting cast have always been what really made the book shine, so I understand that it was necessary. I just think it could have been better if there weren’t pages dedicated to Gwen finding a purse.

All in all, this was a perfectly decent issue. It stumbles somewhat in its rush to move the plot along in preparation for the arrival of the Red Goblin, but does a fine job in entertaining us in the meantime. The art is solid but never all that eye catching. If you’re interested in Go Down Swinging but have been uneasy about Slott’s run in general, I would say that you’re fine on holding off on this until the next issue. You’ll get along just fine and won’t miss anything too important. Except maybe PETER AND MJ.

Overall, I do think this is a better issue than the last several have been. Norman Osborn's presence is just very entertaining in way that makes you want to turn your head away but keep your eyes on him, and the art team goes the extra mile in making you want to punch him in the face. If the concept of the Red Goblin has piqued your interest at all, I would say give this a shot.

Nitpicks aside, this issue does a pretty good job formally introducing the Red Goblin. Now that the anticipation phase is over, the next one will hopefully have more of him being supreme psychotic evil in his new get up. The art team honor their end of the deal by making him as scary as he can be just by standing. #798 is thoroughly entertaining in both narrative and visuals, so if you’re even a little curious about Go Down Swinging, I’m going to recommend you pick this up. You never know. Red Goblin’s first appearance might be worth a lot someday, right?

This arc is off to a good start with threads that are just weird and intriguing enough to keep me going, and as a long time fan of the wall-crawler, this is pretty fun to see first hand as well. If you've been off the radar like me, check this one out. Just be prepared to chug through some past/future tense mix ups.

I’m glad that I gave this book another chance. Chip Zdarsky knows what he’s doing with this story and has shown great diversity in his strength. Between this and Marvel Two-in-One, he’s quickly becoming one of my favorite current writers at Marvel. It helps that he has such a talented team of artists to realize the script. If you haven’t already checked out this series, go back and pick up the last issue and get caught up with this one, too. It feels good to enjoy a Spider-Man book like this again.

Amazing Fantasy has shaped up to be a fun couple issues, but I don’t think the arc has brought enough to the table to be truly memorable. Zdarksy does land solid dialogue throughout, but I wish there had been a little more of it. The artists exceed in highlighting danger and dread in a given situation, but the rest of it doesn’t exactly wow me. Pick the issue up if you’ve liked the story so far.

So far, I like the set up for this arc more than I did the last one. It’s got just enough twists and turns that aren’t just there for shock value and they’re satisfying pay offs for loose threads left over from Amazing Fantasy. I look forward to seeing what happens with this so strangely lucky but tortured Peter. Having Adam Kubert on art is definitely a plus, but I hope the visuals start to match the tone of the dialogue better. Definitely follow up on the series if you enjoyed Amazing Fantasy, because this is surely it’s second part and builds off of it well.

All things considered, I would say Renew Your Vows’ new team is off to a great start. This issue didn’t blow me out of the water like previous entries did, but solid banter and a consistent pace throughout joined by some really enjoyable art made this a book that greatly soothed my worries for the title’s future. As I said, I wasn’t sure what to make of the creative team before reading this. Part of me wanted Renew Your Vows to end with Ryan Stegman’s time writing the book rather than see it take a significant dip in quality. Fortunately, my standards for the book are still being exceeded. This is definitely an addition I can really recommend. Check it out, have a happy new year, and be safe out there!

Minor setbacks aside, this installment of the saga of the Spider-Family is a welcome one. There is much to be praised on the writing front: a pace that doesn’t let up, entertaining and memorable dialogue, and great character interactions. The art and ink may have been bogged down somewhat this time around, but it won’t be enough to hurt your general enjoyment of the book. Overall, this series is still exactly what it’s always aimed for, and that’s family fun that I’m going to recommend you check out.

Well, it's not quite on par with Gerry Conway’s, but this team absolutely understands what this book needs in order to be good. As long as we keep getting things like those talks from Spider-Dad and Spider-Mom brought up by simple, never convoluted plots for our heroes saving the day, I’ll be happy to support this book. Jody, Nick, Ruth: keep it up. This is a production I can always recommend to fans of the original run.

Another solid entry in the saga of the Spider-Family. I'll always miss having Conway and Stegman behind the wheel, but I'm still happy to be getting any quality stories featuring these characters. The writing is really enjoyable, and Jody Houser clearly understands what it is that people love about Renew Your Vows and knows how to put it to use. The artists present the story in a way that matches the easy-going nature of the book well, and nail the communication that’s crucial to its success in feeling fluent and not stilted. Definitely check this out if you’ve enjoyed the series so far.

Infinity Countdown is a lot of fun and just what you’d hope for in a space book written by Gerry Duggan. He shows great diversity in his sense for voices, and clearly knows how to move a story along in a satisfying way. The colors can be a little lifeless, but that’s kind of the point in some cases, and they do expand to compliment the pencils to effectively demonstrate such an intense climax. Check it out if you loved the last Guardian’s run.

I can't wait for the next issue. Riri is finally given some direction, so this story actually feels like it's going somewhere, i.e. it's worth my time and money. The best part is it's only building on what Bendis had laid out before (except for the Da Vinci stuff. Good.), but not so much that this isn't a great place for those unfamiliar with the character to start. The art team kill it, elevating every aspect of the script. If Riri Williams wasn't your jam before, give her another chance.

This issue has no dialogue. Because of that, in addition to the aforementioned tonal shifts between horror and wholesome, Aaron Kuder shines in this book. It takes incredible talent to nail those elements, as well as the sequential storytelling itself. When it comes to the coloring, I couldn't tell when I was looking at that of Frank Martin or Erick Arciniega. I normally recognize the former by his somber palette as seen in the pages of Venom or King in Black. I think the fact that I couldn't pick out his work is a testament to how well he and Arciniega joined together to create a coherent and consistent look and feel for the story.

With promises of much thinking in the next issue, I’m excited to see where this goes. We’ve all been missing the Fantastic Four since Marvel tried to make us forget they existed, so I’m happy to see them let off and embrace them instead in a way that still respects the series of events that led to Reed and Sue’s absence. Chip Zdarsky has shown me that he’s certainly capable of great things with only two issues, and I suspect it’s only going to get better from here on. Keep on reading this one.

Marvel Two-in-One hasn’t blown me out of the water like Hickman’s Fantastic Four did, but baby steps are important, and all the pieces are in place. Each issue has had all the qualities of a great Fantastic Four story while remaining new and original. Zdarsky is clearly a fan who understands these characters well and is excited to be behind the wheel. Frankly, I’m excited about it, too. The first family is almost back, and I can’t wait to see how it goes down. If you’ve been missing your FF…then you’ve undoubtedly already been reading this. Keep it up. It’s worth it.

This is an improvement for sure. Ahmed shows that he has good, concrete ideas for Miles and his supporting cast, and understands how they should be written. It doesn’t really set up much in terms of plot threads, but what it does there will hold most readers’ interest. The artists bring a lot of energy to the table, something I think will go a long way in making people realizing that they really enjoyed the issue after finishing it. Miles fan for a while or newly interested, check it out.

Like I said, my knowledge when it comes to the New Mutants is just about nonexistent, so maybe I’m putting my foot in my mouth here, but I think newcomers and fans alike will have a good time jumping into Dead Souls. All around, the art lends itself really well to a solid script that makes for a good pace and threads that you want to follow, while also giving newcomers like myself a good idea of what this team is like. So veteran or not, I’ll say that this is worth checking out, especially for the sliver of diversity that it adds to the list of genres in your Marvel pull.

Silver Surfer: Black #1 is surreal. I really can’t think of a better word to describe it. It’s surreal and chaotic in all the right ways. This is a great next step for Cates’ cosmic Marvel. It’s a perfect starting point for any kind of Marvel fan, and they’ll surely stick around for more of this juicy script brought to life and served with more eye-candy than you hope for. Doesn’t really matter where you stand on Silver Surfer or cosmic Marvel or Marvel in general. You’ll want to pick this up.

I’m very satisfied with Spider-Girls #1. Again, I think fans of Mayday or Anya might be happier with the next issue, but this one actually made me care about everyone’s part in the fight with the Inheritors, and it has great potential for awesome character interactions coming up. It’s not anything mind blowing, but the art makes it really easy to empathize with everyone throughout the story. Give it a shot.

Immortal Hulk: The Best Defense #1 is, to no one's surprise, another awesome contribution from Ewing. His Hulk is great on his worst day. This issue does have a couple of weak areas, but they don't detract from the book very much. Di Meo and Sanchez-Almara are a great team, putting together pages that feel somber and full of strife. Like I said, fans of Ewing's Immortal Hulk should absolutely pick this up.

By far, issue #28 of Radioactive Spider-Gwen is the best we’ve gotten in a while. That’s not to say it’s been bad, but this issue did some really great things for our most important characters, leaving me fully pleased and eagerly awaiting the next. Yeah, you could still invite your friends over to play the Spider-Gwen drinking game (take a shot everytime somebody says, “Heh.”), but these are some of the best character moments the series has ever given us accompanied by sublime visuals. Definitely check this one out.

In case you couldn't tell, I am extremely satisfied with Spider-Gwen right now. The entire team is just so on top of their game, firing on all cylinders. The best way I can describe it is that this issue feels like the scene in the Avengers when the Hulk gets angry, and then we get the circle shot. Not in tone, mind you, but in that everything clicks into place in order to deliver the most satisfying moments in the series thus far. No matter where you stand as a reader, I am absolutely, one hundred percent going to recommend that you pick this up.

So Spider-Gwen #30 is a bit of a mixed bag for me. What progress that story makes is fine on its own, but when we've all been looking forward to the Kingpin showdown for so long, we're bound to feel a little sour when it's postponed. At least until we get more answers, I think most will agree that this arc should have waited until after, unless it does somehow come full circle and wraps into the Kingpin's schemes, in which case, uh".why? If you've been up to date on Spider-Gwen, this is still worth your time. Just be prepared to deal with some other things before you get what you want.

This is definitely the kind of series that's going to warrant a reread in order to appreciate everything. If you haven't been with it so far, an omnibus will be worth the price. As Jason said, this book isn't perfect, but it's honest.

Go buy Venom #1. I don't care if you like Venom or not. Doesn't matter if you've read his stories before. Doesn't matter if you don't read Marvel or you just don't read comics. This is a book that knows exactly what it wants to be and isn't going to hold back.

Since I haven’t written about it in a while, I feel comfortable saying this again: this is going to be the definitive Venom run. It’s got so much going for it everywhere you look, and it always leaves you wanting more in the best way. It’s objectively one of the most important books to the character in all his thirty years. I can’t wait to see where it goes from here. Go buy it. #GodIsComing

Needless to say, Venom #5 is pretty important. If the cover didn’t already convince you, I hope you’ll take my advice when I say that this book is worth every penny and every second of your time. It’s clearly a big moment for the Venom mythos, and one that makes me so glad to see in the November solicits that Donny Cates is continuing his work in the Venom corner. His run is one of Marvel’s best books on the shelves – top three for sure (and one of the other two is another Cates book.) Great progression for a character that’s been in a rut for so long, brought to life by an art team that always seals the deal; Venom #5 has absolutely got to be in your stack this week.

Some gripes with the visuals aside, this is still my favorite issue of this run so far. It’s not as big on symbiote action, but what it does for Eddie Brock can’t be overappreciated. Reading an advance copy of this was actually kind of frustrating because I couldn’t talk about it with anyone. Don’t sleep on this. It’s a perfect example of what is making this the definitive Venom run.

If Absolute Carnage felt a little too focused on style for your liking, then Venom #20 is what you need. It’s satisfying to see how these events directly impact Eddie and Dylan as people. Have some tissues handy, because the art is really going to sell you on these reactions. Not to mention, this issue is absolutely going to be a key player down the road. Don’t miss out.

Venom #31 is an excellent tie-in for King in Black. By looking from a different vantage point and limiting the story to precious seconds before death, Cates tells a story that is refreshing in its presentation and meaningfully introspective. There’s a moment where the storytelling fumbles for one reason or another, but along with Coello & Aburtov’s awesome environments and transparent characters, the issue is one of the best examples of what a tie-in can be.

Absolute Carnage #1 is an absolute must read. This is a creative team firing on all cylinders. I dare you to find a single panel in this book that isn't teeming with thought and care.

Donny Cates, the mad lad. He can’t be stopped. Such insanity and sentiment are exactly what I want out of a comic book, generally speaking. It’s all laid out with artists that perfectly match the tone and always deliver captivating and energetic pages. A part of me is eagerly awaiting the next chapter, and another part of me is sad for the title to end, but all good things must. Pick this one up and join in me in the bitter sweet celebration.

In Fantastic Four: Grimm Noir #1, the creative team gives us a uniquely dejected story. The Thing is written great as he ever was in an all too real story about fighting the false sense of hopelessness that can surround you even when you’re with the ones you love. Each page will be burned into your brain thanks to superb composition, acting, and lighting at every turn. Fans will not want to miss this one.

There’s a lot of gears turning that make this a pretty great #1. As I said, plenty of aspects for all kinds of fans make this easy to recommend. Based on the plot alone, the issue probably wouldn’t be enough if not for the back-up, but the excellent voices are where the book really shines anyway. Except for some spots in the second half, the art solidifies the fun, adventurous attitude of the story. If you’re like me and the wait between Spencer’s issues is just a little too much, this will surely hold you over. Pick it up.

Fans of Spider-Man stories of the very Friendly Neighborhood variety will want to pick this up. There’s no reason not to. It’s one and done, so there’s no commitment. It’s intelligent yet entertaining for all ages, and carries profound themes throughout – themes that we all need to be reminded of from time to time.

It’ll just be easier if I tell you guys which issue of the Immortal Hulk NOT to pick up. You’ve heard it all before; this is the best book from the big two, it’s horrifying, you have to read it, yeah, yeah. Go buy it. No excuses.

I realize that’s I’m probably jumping the gun here, but I think Spider-Man: Life Story is on track to be a modern(?) classic. This book asks all the right questions, handling the answers gracefully. The visuals are an appropriate update to the character’s origins, embracing the tone of the protagonist’s life and the given setting. Fans new and old will have much to look forward to. Everyone should check it out.

I couldn’t be more excited for the next issue of the Mighty Thor. The team behind this title has been consistently on top of their game this whole time, and I’m one hundred percent positive that it will go down as one of the character’s greatest runs. I honestly loved every single panel. Once again, this kind of quality is entirely deserving of your time and money. Go buy it, and wait anxiously for the next issue like me.

Marvel’s announcement of All-New All-Different Legacy Now 3000: The Revenge initially had me rolling my eyes, but Jason Aaron taking over Avengers was the saving grace for me, and this book is my proof that I have every reason to expect great things from it. I only recently discovered his Thor run, but Aaron has quickly become one of my favorite writers in the industry. Put him with A+ artists that always go the extra mile, and you’ve got a book that I am simply never going to shut up about. This is something that I will always, always recommend.