Jamie Lovett's Comic Reviews

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All of the "Age of X-Man" stories coalesce into Age of X-Man: Omega. Considering Nate Grey's outlook on the X-Men's never-ending cycle of violence, it's fitting that the climax of the event is a philosophical debate rather than a knockdown, drag-out battle.

Age of X-Man: Alpha looks to be required reading for anyone interested in the larger event. And if you're not interested already, you probably will be once you've finished reading the issue.

Count this as another win for the "Age of X-Man" event.

We only seem to have scratched the surface of where Brisson and To are taking this story, having just come upon a generational divide between violent and non-violent means of resistance, but two issues into NextGen, and we're already hoping that it proves to be the pilot for an ongoing young X-Men series featuring these characters in the near future.

Ed Brisson and Marcus To are onto something here, something that deserves to outlast the "Age of X-Man" event.

NextGen continues to be the highlight of the "Age of X-Man" line by concerning itself less with the high concept itself and more with how the characters in this world manage to live in it.

The NextGen story in the "Age of X-Man" comes to a close with a whimper.

Like most of the "Age of X-Man" events, it's a decent premise that lacks forward momentum.

It's an exercise in unfulfilled potential.

It's an interesting premise and while Marvelous X-Men #1 retreads some ground already covered by last week's Age of X-Men: Alpha, mostly introducing the concept and characters and seeding the conflict to come, the idea still hasn't lost any of its shine.

"Age of X-Man" seems to be losing its way a bit. Marvelous X-Men #2 spends a lot of time pondering the goods and evils of love but struggles to define what the word really means.

Marvelous X-Men, and perhaps the "Age of X-Man" concept, feels like it's running out of steam.

At this point, Age of X-Man: Marvelous X-Men feels like a concept in search of a story. This issue meanders, lightly hinting at beats without striking any of them firmly.

Marco Failla and Matt Milla make the issue look good, but in the end, it's just good enough to be disappointed that it wasn't better.

It's a fun opening chapter for this new story that's easy to jump into if you missed the first few issues of the series.

The story isn't particularly memorable, but there's a certain boldness to be appreciated in how it escalates despite how contrived the payoff ultimately is.

There might be something to this new series, but that something doesn't show up in the first issue.

Its a solid story held back by Paulo Siqueira's art.

It's one of the best looking issues of Soule's Astonishing X-Men run yet.

Soule's dialogue between team members gets better with each issue, though this issue is a bit light on substance.

Soule's Astonishing X-Men has been a fun ride, and the finale isn't bad, but it doesn't quite live up to the title's name either.

It's a book fans are going to want to like, but the artwork will serve as a barrier to entry.

Astonishing X-Men should be a really enjoyable X-Men comic with a more comedic bend than any of the other books in the current line, but the art is working against it.

The dialogue, the tone, the plot are all there for an exciting and unusual X-Men series, but without the visuals to match it continues to feel half-baked.

The banter between the X-Men and the Reavers remains a strong point in Rosenberg's script, especially certain characters finally calling out Beast on his tendency to end up on the wrong side of nearly every conflict for the past several years.

The latest volume of Astonishing X-Men comes to a close in much the fashion you would expect, with the underdog X-Men squad having their big damn hero moment. As much as it may be expected, it is also expertly crafted.

The actual plot of the issue"which involves the return of Xavier's old foe Lucifer"may not be the most memorable, but expectation-defying characterizations and their potential ramifications will linger.

"Avengers: No Surrender" continues to be a throwback to the epic, cosmic, do-or-die superhero fare that so many Avengers fans fell in love with in past eras.

The origin of the mysterious Voyager, the formation of the Lethal Legion, and the resurrection of the Black Order are all finally explained. Mark Waid, Jim Zub, and Al Ewing manage to make it compelling.

This issue is primarily told from the point of view of Red Wolf, who gets a rare moment in the spotlight in the midst of the Avengers mega event.

The visuals don't quite do the concept justice, but it's a fun, almost self-contained adventure that also manages to push forward some of the central mysteries of the larger "No Surrender" story.

Both parts of the story are well executed, and the former dovetails nicely into the latter as "No Surrender" continues to escalate in exciting ways.

Another stellar chapter in the "Avengers: No Surrender" saga as the Hulk continues to threaten every Avenger left standing.

This may not be a traditional Avengers lineup at work, but its classic Avengers storytelling in top form.

Its all executed well enough, and in the grand scheme of things, this breather of an issue is necessary to reset the board for the final act of "No Surrender", but it's also not the most memorable chapter of the saga.

All of that is drawn by multiple art teams delivering on the promise of these ideas with different levels of success.

It isn't bad, but it feels like it doesn't quite meet its full potential.

t's a bit sentimental, but after the journey, it feels earned.

But even setting aside cultural sensitivity issues, with the central premise not coming to the fore until the final page, Avengers: Tech-On #1 is running on nothing but wasted potential.

Avengers Tech-On #2 opens with a fight scene that is all but unintelligible due to Jeffrey Cruz's borderless artwork and milky coloring.

The essence of those Batman movies is present here, and this issue will allow those who always wanted more of them to revel in the continued saga.

There's fun to be had here, and the big reveal at the end suggests there' another layer to this crossover madness, but we're not quite to the good stuff yet.

Two issues in and Batman / Teenage Mutant Ninja Turtles III so far has been an exercise in exposition.

The idea New Gotham City, this amalgamation of the DC Universe and the Turtles mythology, is fascinating. Yet we're spending almost no time exploring it. Instead, we're searching out those least changed by it so revert things back. That's the endgame in any situation, but going in that direction with little time to meander seems like such a missed opportunity.

It feels like Batman/Teenage Mutant Ninja Turtles III should be more fun. All of the elements are there, but it's not spending enough time reveling in the absurdity of these mashed up characters.

Batman/Teenage Mutant Ninja Turtles III hasn't done a great job of capitalizing on the fun potential of its premise. Its fifth issue offers a taste of that untapped potential, but the supposedly epic battle that makes up the bulk of the issue is shapeless, taking up space rather than telling a story.

If you've enjoyed the series thus far, the finale won't disappoint.

The "Intergalactic Empire of Wakanda" storyline that's been running through Black Panther for almost a year slows down a bit here where it feels like it should be speeding up.

It's a heavyweight for a single issue bear and a bit exhausting by the end, but it seems the story is poised to enter its final act.

The comic nails the sci-fi noir tone of the films but doesn't feel like its retreading familiar ground. The art seems confused in places as if Guinaldo and colorist Marco Lesko had a communications breakdown resulting in misbalanced layouts, but Blade Runner 2019 is likely to hooks fans and have them coming back for more.

Tom Fowler continues to make Books of Magic a stunning comic to look at. In this is he has some fun playing with magic, boundaries, and the comic book form.

Books of Magic will grab a reader's attention, but may not draw them all the way in.

There's a beautiful moment in comics where an unassuming panel from one issue can be revisited with powerful new resonance in a later issue. Books of Magic #10 includes one such moment. With a single panel, a single line of dialogue, a relationship established in the series' first issue is turned on its head, going from sad to outright tragic.

It's an issue that doesn't commit any cardinal sins, but that also doesn't live up to its potential.

It all comes together for what feels like an emotional oasis in the fallout of the series' most recent turning point.

Some of the story details aren't fleshed out as well as they could be, but this is a comics craft masterclass.

Tim is a hard protagonist to connect with because his behavior is so offputting, and that's proving to be a real problem for Books of Magic.

It's fine, but at some point, the series needs to remind us why we care.

A new high mark for the series.

The Books of Magic wraps up a stellar arc that sees Tim Hunter wrestling with his inner demons.

Readers will have to wait until the next issue to learn whether Barnett has anything interesting to say about this era or its storytelling tics. Still, this issue in a vacuum is a delightful dose of wry nostalgia.

It's familiar territory, but it's well-executed and done with charm, and Tom Fowler, as usual, draws the hell out of every moment.

Altogether, the issue is well-crafted, despite being a bit frantic.

David Barnett had some fun as the new writer of Books of Magic by sending Tim Hunter on some adventures detached from the series's overarching plot. Now that he's returned to that main narrative throughline, the book has lost the life that he brought to it.

The issue shows the symptoms of being an unplanned finale, with some long-simmering conflicts coming to abrupt resolutions, but Barnett and Fowler manage to send the Books of Magic off with a sense of closure, warmth, and hope.

Buffy fans new and old will likely find themselves hooked on this modern reimagining of the Buffyverse.

Bellaire is building to something -- Xander's detachment makes it clear that keeping the gang separated is intentional and not an oversight -- but without those core relationships intact, this issue of Buffy feels like its missing something.

Whereas the previous issue of Buffy the Vampire Slayer felt like it was moving too slowly, this issue goes hard in the other direction. There's so much going on that it feels like two or three different stories crashed into other.

Buffy the Vampire Slayer #4 has everything a Buffy fan could ask for, beginning with the Scoobies' perfect reaction to Giles offering them a night off. From there we get relationship drama, internal conflict, the big bads plotting, and a cliffhanger right as a key character reaches a major turning point.

Jordie Bellaire provides a strong script that both feels like a perfect replica of a traditional Buffy TV episode structure while being wildly different from any particular episode in interesting ways, and that's enough to make up for Lopez's mixed artwork.

It's one piece and another great issue of Buffy that captures the spirit of old Buffy while still feeling fresh, new, and different.

. It ends with Lopez returning for a strong final scene between Willow and Xander, but it still feels like a story missing most of its middle.

Fans will have to wait and see if that helps focus the series and improve its pacing issues, or imbalances the series even further.

The story lacks a smooth flow, but the characters"while not at their most endearing here"are still those lovable Scoobies. Now that Jordie Bellaire, David Lopez, and company have broken them down, it should be fun to see them built back up again (presumably) over the course of the crossover event.

What stands out most in this issue is how insufferable Giles is, a far cry from his composed, paternal television counterpart. It's another example of the series jumping into the deep end.

The issue does highlight why the reimagined Robin Wood has been such a strong addition to the reboot's cast, especially now that he's been paired with the new slayer.

This issue feels more focused than those that preceded but still doesn't stick the landing on its most dramatic moments.

Artist Rosemary Valero-O'Connell brings a softer style to the standalone issue. It suits the setting and story, though the action scenes lack some weight and impact.

The issue makes two minor missteps towards the end"an awkward inset mars a beautiful splash page, and the final tease is too vague to be tantalizing"but this issue everything Buffy fans crave.

With this issue, she appears to be treading familiar ground at first until one of the characters questions the premise. Bachs' art isn't the strongest we've seen on the series, but the issue is still keeping the series headed in exciting directions.

The ideas here are exciting, and Bachs' artwork is solid in other places, but it's frustrating to see such a crucial scene flubbed this way.

This issue is an example of the series' creative team taking full advantage of the unique opportunity they have with this fresh comics continuity to improve upon the source material.

Unfortunately, Ramon Bachs' artwork is a distraction here. Bachs tries to give these high school students a youthful look, as you'd expect, with character manga-inspired character models, but his faces and bodies are inconsistent from page to page, resulting is something that looks like Dan Mora's work minus discipline.

Buffy the Vampire Slayer #19 is an uneven comic comprised almost entirely of three conversations.

As is par for the course with Buffy the Vampire Slayer, there are excellent ideas hampered by messy, uneven execution.

There's a strong concept here, but the execution isn't doing it any justice.

This moment shines through as one of the series' best to date.

The series needs to start paring down its narrative threads, or this reboot will soon need a relaunch of its own.

The Buffy the Vampire Slayer ongoing series stumbles through another issue that should be revelatory but is jumbled and forgettable due to subpar storytelling and lack of proper setup.

The story does channel some of the tone fans of Buffy love, with the Lurkers being appropriately creepy and the beats about shrimp tacos bringing the humor. But it also suffers from all of the usual problems this series struggles with"a lack of grounding and mediocre visual storytelling"making it hard not to feel like this forgettable issue could have been something more.

Buffy's narrative may lose its power without a seasonal structure to mark a meaningful passage of time, force it into periodic climaxes, and organically mark the start of a new chapter in its characters' lives. Instead, it's devolving into the worst type of superhero story, an endless string of things happening simply to keep things happening, which is disappointing given how much potential there is in the building blocks of this relaunched timeline.

Yet the script devotes too much of Buffy the Vampire's Slayer #27 to watching the characters talk in circles about a villain with barely any presence.

It's pretty telling that even Buffy herself spends half the issue asking for someone to provide a plot summary because she's lost.

There's also still too much going on here narratively, burying the emotional core that's vital to making Buffy work, but this is a solid issue with some notable high points amid continuing series woes.

Carlini's expressive, loose artwork fits in well with the tone set by the main Buffy title. She and Lambert get creative using Faith's affection for cinema to visualize her trauma, doing what Buffy does best by overlaying monsters over the mundane.

Buffy the Vampire Slayer: The Chosen Ones offers fans a glimpse into the lives of three Slayers who preceded Buffy Summers in the "chosen one" line.

If they'd had different artists, or a perhaps a more versatile single artist, craft each, it would have enhanced each character's perspective in a way that fully embraces comics as a visual medium. Perhaps Xander's story would become a full-on superhero tale, and Willow's something more retro horror. Instead, the issue feels like a shadow of what it could have been.

Hellmouth #1 sets a hell of a tone, and we're excited to see where it takes Buffy and Angel next.

So far, the first Buffy and Angel comics crossover is a worthwhile trip through the gates of Hell.

It could stand to be a bit more grounded " as it is it feels a bit too dreamlike for something that is not a dream"but it's a solid next step on Buffy and Angel's journey.

There's too much going on and not enough grounding to make any off it feels like it matters.

There are good ideas here, but it all feels like it needed a little more time in the creative oven, and little more patience when it comes to execution.

As an exercise in setting the stage, advancing the important themes with subtle foreshadowing, Buffy the Vampire Slayer: Willow #1 is an absolute masterclass.

Some readers may be frustrated with how coy the story is about revealing the truth about Aelera and Abhainn. Still, there is a thematic richness and artistic beauty here worth slowing down to appreciate.

This issue is a little light on plot development, but the overall story is still intriguing enough to keep readers hooked.

This issue feels like a chapter we could skip and head straight to the story's end. It isn't bad, but it may leave readers feeling a little unfulfilled by the end.

It's maybe an issue too long and marred by forced, unsatisfying conflict, but it's still a worthwhile diversion from Boom Studios' Buffy the Vampire Slayer series.

With another creative team change coming next issue, Cable remains a book searching for an identity.

Cable being Cable, those specters are especially literal and deadly, but its good to see "the man called Cable" fulfilling his potential again.

There's still a ways to go, but so far this is the best Cable story since the era this issue is set in.

Cable continues to weave a terrifying web through Cable's history, this time through a locked room scenario in which everyone happens to be an incredibly powerful mutant.

This is simply the definitive Cable story.

"Out of Time" seems like exactly the kind of story that Captain America was created to tell, and the first issue is executed flawlessly.

Chris Samnee sure knows how to draw a Captain America action sequence. He gets to draw a few in this issue, the middle chapter of the three-issue "Out of Time" arc, and they are as dynamic and graceful as fans have come to expect.

Captain America #700 delivers an appropriate ending to what feels like a quintessential Captain America story.

There's a fun twist ending, and some of the individual artwork is stunning, but otherwise, it feels like there's not much to hold onto.

Any attempt at subtlety that Mark Waid may have been making in his latest Captain America story goes out the window in #703 as the conflict becomes defined as the technocratic, universalist, elite blue-skinned Kree against the retrograde fascism and hate of the Red Skull, with regular people caught in the middle, their only hope resting with America's youth -- literally, youngest descendant of Captain America.

Several moments feel entirely tone deaf, but the material is at least elevated by Leonardo Romero's wonderful artwork.

Casual Fling #3 is the weakest issue of the series, but it's unlikely to deter anyone who's invested in the story already.

Casual Fling started as the kind of sex thriller you don't see much of in comics and lost its focus a bit in the middle, but at least it wraps up tidily, even if the finale lacks flair.

Only die-hard fans will want to glance at this, and even those will likely forget it soon after.

Marvel Comics has assembled the perfect creative team for a new era of Conan.

Mahmud Asrar continues to excel with his depiction of Conan's fantasy world, and he and Aaron seem to be settling into an episodic rhythm with the series that fans of Howard's short stories will likely appreciate.

A skippable entry overall.

This is by far the most unconventional Conan story that Aaron has told and the best issue of the new series to date.

Conan the Barbarian #5 feels a bit like a greatest hits of Conan stories. Jason Aaron and Mahmud Asrar offer a tale with pirates, cursed idols, elder gods, monsters, and storms at sea; it's Conan at his most anguished and most joyous.

It's a story that feels very true to Robert E. Howard's idea concept of the barbarian and a solid read all around.

It's not bad, but it's not the most memorable Conan comic book either.

The issue looks good but is ultimately forgettable.

This issue of Conan is forgettable and easy to skip.

It's a fun concept that ties together the threads Aaron has weaved and Asrar's artwork more than does it justice.

It's mostly fine, but any memory of it is likely to evaporate from your brain 30 seconds after contact.

Conan: Serpent War #1 is well-crafted but overstuffed as it struggles to get introductions out of the way so that it can move towards the conflict.

It's a boring execution of an exciting premise.

Conan: Serpent War feels like it's going through the motions and is perhaps telling a bigger story than its built for.

Marvel's big Moon Knight meets Conan and some other Robert E. Howard characters has proven to be a structural mess.

Crush & Lobo #1 does an excellent job of entirely investing readers in Crush's story and the internal conflict that will almost certainly manifest as external butt-kicking in the issues to come.

Tamaki is still having fun having Crush address the reader with a vague air of disdain, and it works because we understand how much that attitude is a front to protect Crush from herself.

Crush & Lobo has been excellent thus far, and while this issue has to do some heavy lifting to keep the story moving at a decent pace, it seems set to only get more wild from here on out.

Crush & Lobo continues to be the surprising delight of the year.

With Garney back, Daredevil is once again a must-read Marvel title.

It all comes together beautifully in a brutally understated moment of surprise from Muse and a final page that promises a big finale.

It's all a bit too much zigging and zagging for a single issue to handle, even an oversized milestone issue.

It's a solid start, setting up a story with a lot of potential for superhero action and fun.

This is a fantastic one-shot that everyone should read.

Death Orb #1 doesn't offer a lot of substance to sink your teeth into, so far it has a pretty basic lone-desert wander on a quest plot and not much else, but the execution is good enough that if you appreciate any of the influences mentioned above you may want to keep an eye on it.

What action is included is competently done, but there's just not enough substance or flair in this comic to be truly memorable.

It's Japanese mythology with a Marvel universe glamour. The company's characters are stretched and contorted to fit into the legend rather than the other way around.

The colors are a bit muddy in a way that mutes some of the visual energy, but Doctor Strange is still among Marvel's best-looking comics.

Donny Cates continues to do a great job of redefining Stephen Strange's personality. Other writers have pegged arrogance as Strange's tragic flaw, but Cates goes deeper, showing Strange's pride, temper, and wariness.

The ongoing petty rivalry between Strange and Loki is enough to make this issue worth checking out, but the way Nico Henrichon depicts Las Vegas as a stygian abyss makes it a must-read comic.

Doctor Strange: Damnation may turn into a worthwhile story, but the first issue feels more like homework than entertainment.

With all of the overblown setup and tying into Secret Empire out of the way, Doctor Strange: Damnation #2 is able to play to writer Nick Spencer's strength: his ability to write fun banter for a motley crew of B-list characters.

Compared to the far more consistent Doctor Strange ongoing series, Doctor Strange: Damnation feels all over the place.

If you're a fan overflowing with love for the new Doctor, this is a great place to get an extra dose of Doctor Who.

The Thirteenth Doctor's comic book adventures are off to a solid if not spectacular start.

We don't get to the meat of the story until the end, but this issue is a fun read for Doctor Who fans.

The series remains a solid read for fans of the show.

But the issue's greatest sin is trying to convince us of the nobility of these political death troopers with the trite notion that, if not for Bashar's flash of conscience during the raid, the Dune saga might have played out differently. Color me unconvinced.

Those eager to visit the universe of Arrakis would probably be better off waiting for the new movie.

Two issues in, this adaptation remains forgettable.

When it isn't confounding, it's merely dull, going through the motions to tell a story we already know the most important beats of and failing to add anything of interest to the larger narrative.

This series has been a total dud that fans will be better off avoiding.

Dune: House Atreides stars stronger than the previous four issues of the BOOM! Studios series.

It's a low bar, but compared to previous series issues, Dune: House Atreides is practically readable.

Brian Herbert and Kevin J. Anderson's prequel story hasn't been all that compelling of a read before this, but now that it's just checking boxes, it's somehow even more rote than before.

While the drama in this issue is more compelling than most of what's preceded it, there are still some unfortunate indulgences.

ElfQuest: Stargazer's Hunt is going to sink its hooks deep into ElfQuest fans in the best possible ways.

Stargazer's Hunt #2 digs into the big reveal from the first issue, but doesn't come out with much clarity.

The real adventure of Stargazer's Hunt begins in the third issue of the ElfQuest miniseries.

Sonny Strait continues to be a suitable successor to Wendy Pini on the series, and Wendy and Richard Pini still know how to give their fans more of what they love.

Based on the first issue, Extermination is an epic X-Men event years in the making.

For the most part, Extermination comes very close to X-Men event perfection.

Extermination gets another strong chapter that isn't quite as jaw-dropping as its first, but avoids the pacing pitfalls of its second.

It may not be Extermination's strongest chapter, but it ends on a note that is sure to have X-Men fans talking until the final issue arrives.

X-Men: The Extermined features two separate stories. The first is a direct follow-up to the death of Cable in Extermination. Written by Lonnie Nadler and Zac Thompson, the story focuses on Hope Summers and Jean Grey and feels like both an epilogue to Extermination and a coda to the writers' recent run on the Cable ongoing series.

The most noteworthy thing about Extreme Carnage: Scream is how bluntly it shows Marvel symbiote events' dull, repetitive nature.

Azarrelo is unfurling this mystery slowly, and much of the dialogue is oddly affected, but Llovett's artwork is stunning throughout.

Fearless #1 is an excellent package that shows off some of Marvel's best established and up-and-coming talents. Anyone looking for the future of comics should look here.

Fearless #2 isn't quite the perfect anthology that the first issue was, but it's a solid showcase of Marvel's female talent and characters.

Alyss Wong and Alti Firmansyah close it out with a short, light-hearted Wolverine and Jubillee story. Fearless remains an excellent showcase for Marvel's female talent and characters.

This entire series has been a worthy showcase for the women of Marvel.

Excellent craft and a compelling story come together to create a comic book that Browncoats are likely to be very, very pleased with.

Like most episodes of Firefly, all of this ends up putting a lot of pressure on the relationships between the members of that crew, which inevitably leads to more than one of them doing something noble but stupid that may only make the situation worse. In other words, it's exactly the kind of story Firefly fans crave.

It seems influenced by classic sci-fi and western comics which, considering Firefly's premise, makes a lot of sense. And it feels less like a comic book doing its best to imitate the television series or the film and more like Firefly re-imagined as story native to the comic book form.

Since this comic takes place before the events of Serenity, we know that the crew is going to make it out OK, but it is to the creative team's credit that finding out how -- which remains unclear at this point -- still feels like something to look forward to.

Five issues in and Firefly is still like comfort food for fans missing the show.

This issue of Firefly opens with a bar fight that doesn't quite land its punches as well as it should.

As usual, Dan McDaid draws pulpy action with as much skill as he does expressive characters. He also offers one of the most beautiful renditions of Serenity fans have ever seen, with the help of Marcelo Costa's colors.

Watching the relationship between Mal and Boss Moon blossom into a friendship has been delightful, and Pak again gives the less violent members of the crew"Inara, Book, Wash"ample time to shine. This series is a delight for Firefly fans.

This story is getting a bit long in the tooth and its time to find its resolution, but that's not to say it hasn't been fun a ride getting there.

It feels a bit like Greg Pak is playing a game of "yes, and" with himself that has gotten out of hand, as each new issue of Firefly adds more chaotic elements to the mix.

It may not be the most cohesive and concise tale, but it's still fun and man can Dan McDaid draw sci-fi goodness.

Now that it's all told, "The Unification War" is a wild ride that gives Firefly fans a dose of the familiar and double dose of the unexpected.

Mal's motivations here seem slightly out of character as his whole mission has always been to keep Serenity flying, not to set done for good, but conflict is interesting enough to roll with that indiscretion for now.

Though the storytelling is muddy in places, the style is strong, and Firefly fans will find plenty to enjoy here.

There's some awkward letting placement in the issue as well, but otherwise, it's another solid issue.

It's not reinventing the wheel, but it gets the job done.

With the arrival of someone calling themselves "The Bandit King," this arc may be falling into the same problem as the previous arc, with too much going on to keep the focus where it needs to be. Still, for now, it remains a decent way to spend time with the Serenity crew.

The issue builds up to twist that's telegraphed well in advance, and there's the creeping sense that this storyline"built on a quality premise"may be past its prime.

Francesco Segala shows some real versatility as a colorist, switching between the Boros desert's earthiness to jungle vistas and lush plains, even if his lighting effects occasionally wash out characters in an odd way.

It is a little strange having RoboCops running around the Firefly universe, especially those with Mal's face. Still, it's exciting to see that Pak is taking the crew into some complicated and relevant territory.

Both Lalit Kumar Sharma and Danil Bayliss turn in solid line work, though the former's sudden switch to the latter is jarring. A stellar issue all around.

As with the last issue, they both do decent work, but their different styles make for a jarring transition, especially when there's no apparent logic as to who draws which pages. Despite that, Firefly fans are likely to have a smile on their faces after putting this issue down.

For the most part, the issue hangs together on the strength of Pak's dialogue and enjoyable, if not coherent, artwork.

Firefly #25 from Greg Pak and Pius Bak is a sudden and drastic departure from what the series has been up until now.

While the resolution of the previous issue's cliffhanger doesn't live up to the hype, it'll still further invest fans in this new future for the Serenity crew.

The issue provides mostly smooth storytelling and proves a fascinating chapter for Firefly as this new age continues to take shape.

All in all, it's a solid enough entry in the continuing comic book misadventures of the Serenity and its crew members.

The artwork veers too far into the cartoonish, at times feeling empty and flat, to convey the weight of the situation. It's serviceable and gets some bonus points for trying to imbue the comic with more worthy thematic underpinnings than its source material.

The pieces don't come together for this issue of Firefly.

It's a solid little character piece made all the more poignant by Lindsay's inviting art.

There's a nice bit of connectivity hidden here that will reward those who have been reading Boom's ongoing Firefly series. Otherwise, it's frustrating to see a good idea fall to confounding and disappointing execution.

This issue's story is somewhat muted, with the problem child robot partner introduced and dispensed of without any real rise in tension. But the narrative raises some interesting questions about where Firefly is going, sets the stage for exciting things to come, and looks good while doing it.

The issue wraps up this era of Firefly nicely and in a way that will have longtime fans eager to see what comes next.

There's potential here in setting a new stage for adventures in the Firefly universe, but the creatives will need to execute better than this for it to pay off.

This story is simply an infuriating and baffling read.

It isn't a perfect issue, as Simon explicitly stating that his family's safety is paramount and then ignoring Zoe's warning boggles the mind, and Lucia Di Giammarino's colors are still too washed out. However, it's a step in the right direction.

Coupled with Luci Di Giammarino's pale colors, the visuals sap the energy out of what should be a thrilling escape.

It's a mostly fine issue for those invested in the series.

Brand New 'Verse's peak into the future of the Firefly universe ends quietly. With most of the character conflicts resolved in the previous issue, the finale is a pretty by-the-book escape with the aid of a conveniently place Inara and River's telekinetic friend.

There are some fun ideas here and simmering tension between Superman and Wonder Woman. Still, it is disappointingly conservative for part of an event meant to be looking forward.

Dan Watters' narration has the tone of a storyteller recalling a myth to children gathered around a fire, giving the tale an epic quality. Leila del Duca's artwork is up the task, depicting the heroes taking on Herculean challenges with a statuesque style befitting the gods.

It's disappointing that this series was cut so short, but at least it's going out in style.

Go Go Power Rangers maintains that powerful alchemy of melodrama, giant robot fights, and action that makes Power Rangers what it is.

Peter Milligan and Piotr Kowalski do their best gothic horror impersonation in God of Tremors from AfterShock Comix. As an exercise in genre, it's largely successful.

Perhaps the series will pick up as we get closer to uncovering how Kratos go to where he was at the beginning of the 2018 series relaunch, but this opening salvo is an uninspired bore.

After two issues of hollow navel-gazing and half an issue of working up to it, perhaps the next issue will eventually see this God of War series living up to its namesake.

We've reached the penultimate chapter of this miniseries, and the story has yet to justify its existence or the time spent reading it in any way.

Basically, if you're a fan of action movies that take clever sci-fi concepts and do basically nothing with them concoct increasingly ridiculous action pieces, then Hardcore might be your jam. Otherwise, not so much.

If you enjoy big dumb action movies, you should probably go watch one of them instead.

Head Lopper continues the Knights of Venoria story and, as fans have probably come to expect, it's a fun fantasy ride.

If knights fighting wizards and goblin hordes that worship toad gods sounds like your jam, Head Lopper will not leave you disappointed.

High Level #1 is an introductory issue at its core, but it's introducing readers to a world that is worth investigating. The themes here are rich, reflecting the tension inherent in consumerist society.

High Level is an engrossing sci-fi thrill ride that somehow still feels likes its only getting started.

Three issues in and so far High Level is a consistently strong road trip through a wild sci-fi wasteland.

The search for Minnow resolves quicker than expected, but succeeds at building the bond between her and Thirteen.

This once strong series feels like it's coming apart at the seams.

Fans probably aren't going to the Kick-Ass universe for subtlety or depth, and they won't find any here.

It is all feels a bit rote at this point. At least Rafael Albuquerque looks good, even if it isn't pushing any boundaries.

What this particular issue has going for it is some nice Rafael Albuquerque artwork, so at least there's that.

Things are happening, but it isn't clear why we should care. Still, changing up the format a bit makes this the best issue of the series so far.

Nalo Hopkinson and Dan Watters are turning the disjointed narrative that House of Whispers began with and turning it into a cohesive narrative, though there's still some work left to do.

Another frustrating, middling installment of the series.

House of Whispers continues to improve from month to month, but still doesn't quite soar.

Of all the Sandman Universe series, House of Whispers has been the hardest to latch onto, but the series continues to improve as we get to know these characters more and the story gains greater focus.

There's an exciting development at the end of this issue, but the journey there is too often muddled and confused.

House of Whispers #13 is the best issue yet of the Sandman Universe series.

This is the best issue of House of Whispers yet.

Besides a distracting, out of place cameo from John Constantine, this is the strongest issue yet of a series that keeps getting better and better.

Not a standout issue, but not one that will turn longtime readers off either.

House of Whispers has been an uneven series, but this is one of its stronger issues.

Each part of the story enhances the other, creating a powerful whole.

It's not bad, but it also doesn't feel like it is fulfilling its full potential.

It's a story that needs more room to breathe, but there's something to be said for a single comic packing in this much thematic strength into a single issue.

The multiple story threads of House of Whispers finally come together in series' final issue, but they don't form a memorable harmony.

The era of X-Men has arrived. It's fascinating, it's well-drawn and well-colored, it has great character moments, and it has direction. But it is not the X-Men as you've ever seen them before.

Jonathan Hickman and company continue to stun with their reinvention of the X-Men. House of X #2 hits pauses on the story of Krakoa begun in the previous issue and builds tangentially from a major moment in Powers of X #2.

House of X #3 is the series' most traditional superhero narrative yet.

On a plot level, we're still asking the same questions we were after reading last week's issue, but this issue proves some moments are worth lingering on.

This one is going to have people talking, and deservedly so.

Anyone expecting Hickman to pull the rug out from under readers by the end will be disappointed (though there's still next week's Powers of X), and that makes the series as a whole that much more powerful.

If you're in it for the craft, then the work that was done on "Secrets and Lives" may be worth the inflated cost that comes from being bundled with "Hunter's Pryde." Maybe.

Even with these minor possible flaws in mind, Iceman #1 is a stellar return.

It will prove satisfying to some hardcore X-Men fans, but lacks much of the energy and excitement that infused the first issue.

This five-issue Iceman revival is only three issues in and already it seems to be spreading itself pretty thin.

Iceman was supposed to be one of Marvel's canceled-too-soon, returned from the dead fan-favorite series, but at this point it seems like maybe it really has run its course.

Iceman comes to a close -- again -- ending a less-than entirely successful revival.

There's a moment that, taken in a vacuum, feels like a cheap attempt to shock the reader, but it is clear before the issue ends that there's more going on. Plus, Ewing has been doing this, and doing it well, long enough to earn the benefit of the doubt.

Immortal Hulk #15 is a wonderful blend of big, philosophical ponderings and superhero violence.

The world continues to grow darker around Bruce Banner, and this issue's final page hints that his mind may be more fractured than anyone thought.

Gerry Duggan, Mike Deodato, and Frank Martin have delivered a brilliant opening salvo for a series that seems to be truly aiming for the stars. The issue is engrossing and leaves readers wanting more. With Infinity Wars #1, the next true Marvel epic has arrived.

Anyone craving a thoughtful sci-fi that doesn't skimp on excitement or visual flair needs to check out Invisible Kingdom.

It still feels a bit like we're waiting for liftoff when it comes to the plot, with G. Willow Wilson taking her time to thread these two narratives into one, and that's fine as long as the payoff is worth the wait.

Invisible Kingdom draws its two leads together and picks up a sense of urgency along the way.

Invisible Kingdom #4 is the best issue of the series so far.

This is the first step on what feels destined to be a rewarding interstellar journey.

If you're looking for character-focused sci-fi in a space, Invisible Kingdom remains a solid choice.

Invisible Kingdom is a character-focused space opera that's stellar but that still has room to grow. -

Christian Ward's art is still beautiful, but looking rushed in place in this issue. There's a whole conversation where one character's face is a featureless, yellow slate. But with a statement of intent made, it'll be interesting to see where the creative team takes it through the rest of the arc.

This is one of Invisible Kingdom's strongest issues yet.

Invisible Kingdom has always been a strong sci-fi offering, but it's now ascended to a new level as a beautiful, poignant saga.

A solo adventure crafted with reasonable competency like this one could be enough of a draw. For those less invested, the appeal is hard to see.

Somehow, after more than a year of consistent excellence, Immortal Hulk continues to remind readers why it's the strongest superhero series around.

The storytelling is solid, characterization on point, and it looks good, there just isn't much going on beneath the surface, at least not in this issue. But if you're a fan of the Fantastic Four or Invisible Woman in particular, this issue will deliver.

It's not bad, but it's not going to stick with you for long after reading.

If nothing else, this miniseries serves as a strong argument for Invisible Woman being capable of carrying a solo ongoing.

As a newbie, Kaijumax: Season Five is unlike anything else in serialized comics, a potent blend of the reality filtered through the absurd. Even five seasons in, Kaijumax reads like a giant-monster kick to the gut.

As finely crafted a comic as is being published today.

Zander Cannon's remains the perfect alchemy of post-modern playing with genre tropes and societal critique.

Zander Cannon never ceases to amaze with his ability to blend the fantastic elements of kaiju with the harsh realities of prison culture and legal systems.

There's exquisite alchemy at work in Kajiumax, and it shows no signs of wearing off.

Kaijumax looks to continue its tenure as one of the best series published in comics today.

Kaijumax continues to be an incredible accomplishment in consistent, quality storytelling.

It's another dose of Kaijumax's heady blend of colorful genre tropes and understated emotion that fans gave up trying to quit long ago.

A solid-enough middle chapter of the ongoing storyline.

It's all fairly forgettable material.

Knock Em Dead #1 is a stellar character piece. Here's hoping the additional supernatural element in future issues proves additive rather than a distraction.

Knock 'Em Dead is shaping up to a satisfying slice of horror-drama.

The way the series expresses the act of performing standup visually is still interesting, but this issue may have derailed the entire plot.

It's a tricky beat to land in the confines of a monthly comic, and while the execution is flawed, the ambition, at least, is admirable.

As with the rest of the series, the issue has stellar visuals, but it's all wrapped around a confused and muddled half-story.

While it's apparent that Hill and Rodriguez are having fun with Neil Gaiman, Sam Keith, and Mike Dringenberg's creations, it's unclear if it amounts to anything more than fan service.

If this is your thing, you probably already know that it is. If it's not, then there's little reason to change that unless you're a very curious Westworld fan.

If you're not already interested, I can't say I recommend it -- I'd just as soon go watch the cartoons these are inspired by -- but I also can't really fault it for being what it is.

Looney Tunes #245 is another example of a comic taking typical Looney Tunes characters and humor and depriving them of the inherent energy of animation to create a kind of carbon copy homunculus of a cartoon in comic book form.

The rest of the issue is your pretty standard fare for Looney Tunes, which means pretty forgettable attempts at recreating the charm and energy of the cartoon.

None of it transcends its source material, but if Looney Tunes is what you want, then Looney Tunes is what you'll get.

Lucifer is ripe with depth and mystery that is poised to unfurl in captivating and compelling fashion.

There's potential here, but the creative team will need to cut through the chaos to find it.

Guara's artwork still somehow feels both incredibly busy and somewhat empty at the same time, pairing over-emphasized figures in the foreground with often blank backgrounds. Still, if you're going to do mystery in Magic, Ravnica is the place for it, and you can sense the fun McKay is having while weaving these threads.

Magic: The Gathering #3 sees writer Jed McKay slowing the pace to spend some time fleshing out the Planeswalkers' backstories. Unfortunately, it's an exercise in telling instead of showing.

The issue touches on worthwhile themes as the conspiracy could pit the Guilds against the guildless, an almost literal representation of the haves and the have-nots, but that's not enough to excuse such poor pacing and dull means of revelation.

It's the kind of fan service you often expect from these licensed books, nothing more and nothing less.

Magic: The Gathering #6 is almost entirely a backstory info dump solving the series' great mystery and setting up the story's next act, but it's least it has some depth to it.

It's a thin tale that leans too heavily on a twist that will leave readers annoyed more than enamored.

Unfortunately, the simplified release program may be the most memorable thing about Marvel Rising #1 as the content of the issue uses an odd setup to present some of Marvel's most exciting new heroes at their most generic.

The second issue of Marvel Rising finds more sturdy storytelling ground to stand on.

It's a simple story, but the characters seem to be having fun.

. The scaffolding of all of this is by-the-books superhero fare, but the emotional core is there and shines bright enough to make it a worthwhile read.

Marvel Two-in-One comes to a satisfying conclusion, wrapping up all loose ends before bowing out so that the relaunched Fantastic Four comic can pick up the torch.

This is one that X-Men fans will enjoy and that can probably be revisited in future holiday seasons as well.

With Thompson's delightful dialogue and characterizations, Bazaldua's balance of the intimate and the exciting, and D'Armata's tone-setting, Mr. and Mrs. X seems set to deliver equal parts overdue emotional payoff and endearing adventure.

In Mr. and Mrs. X #2, Kelly Thompson and Oscar Bazaldua continue to infuse Rogue and Gambit's cosmic honeymoon with the energy and amusement of a wildy caper.

Mr. and Mrs. X remains one of the top books of the X-Men line.

The high adventure continues in this issue, with Oscar Bazaldua delivering some great action shots and sequences of Gambit showing off his escape skills while in a Shi'ar prison.

Mr. and Mrs. X slows down in its fifth issue, taking a break from the rollicking space adventure to focus in on the relationship at the core of the series, that between newlyweds Rogue and Gambit.

Mr. and Mrs. X is easily one of the best X-Men books of 2018.

Mr. and Mrs. X continues to be a delightful read.

It all adds up to an issue that's a bit flat compared to other installments of the series, but considering how good the series has been so far, that's still not bad at all.

This issue feels a bit like doing the hard work necessary to set up the good times to come.

It's not bad, but it's not as tight as some of the earlier issues.

As Mr. and Mrs. X draws closer to its end, we get a fun, action-packed issue that begins by focusing on Gambit before putting the marriage between Remy and Rogue more in focus.

By the time readers are done with Multiple Man #1, they may not be entirely sure what just happened or where they're headed, but they'll almost certainly have enjoyed the ride and be looking forward to more.

A solid second act, but something of a jog after the first issue sprint.

This issue may be a touch overly indulgent, but it's still a fun read.

This penultimate issue of Mutliple Man will not leave fans disappointed, but rather have them primed for more.

While it isn't quite the return to form for Madrox that some may have been hoping for, this series is a worthwhile read for any fan of the character.

Vita Ayala and Claire Roe team up for a new Nebula series, but the first issue feels more like a prologue than a true first chapter.

It's exciting to think that Hickman and Brisson want to dig into these characters. Moving them away from the rest of the X-Men forces the focus onto their unique roles and personalities. Let's just hope they have something more interesting to say about these characters going forward.

An excellent second outing for New Mutants.

New Mutants #3 is the first issue of the series without Jonathan Hickman as a cowriter. It's also the first issue to shift focus away from the original New Mutants. The results are a bit clumsy.

There's some fun interaction between Sage and Boom Boom, but it isn't enough to carry this frustrating story.

A stellar chapter in an excellent cosmic superhero tale.

Compared to how engaging and interesting Sunspot's team is in the other New Mutants, Armor's group falls flat, failing to give readers a reason to care about what's going on. And Flaviano's artwork, while beautiful in its own right, still feels ill-suited to this grittier tale.

This issue will serve anyone looking for a good-looking, fun, if a bit arch, cosmic adventures.

It's a fine issue, but one that you may forget about soon after reading.

Ed Brisson writers some fun interactions here as Magik stand her ground when Cyclops gets condescending and the New Mutants insist clinging to their "better to beg forgiveness..." attitude.

The issue puts Flaviano's penchant for drawing cartoonish exaggerations and surrealness to good use as the New Mutants get pulled deeper into the Carnelian mutant's nightmare dreamscape.

We do get some new insight into Glob Herman's past, which is nice, but on the whole, the issue would have served its subject better by delivering its message through story instead being a sermon in comic book form.

"X of Swords" continues to be stellar throughout.

This issue is a strong start for Ayala and Reis and a great jumping-on point for anyone enjoying this era of X-Men that isn't already aboard the series.

New Mutants #15 is a work of expertly crafted, subtly emotional storytelling.

Another all-around stellar issue from the New Mutants team.

The issue has a few odd pages where the artwork and dialogue seem to disagree about what the characters are supposed to be doing, but this a beautiful and emotionally rich story that's some of the best character-centered storytelling to take place in the modern X-Men era.

Storytelling like this is has turned New Mutants into one of the most compelling of the current X-books.

The issue ends a bit clumsily with an awkward but heartfelt, ad hoc eulogy and an abrupt cliffhanger. Still, otherwise, it's another wonderful installment of what may be the X-line's most underappreciated series.

Artist Rod Reis proves more than up to the task, his painterly linework and his colors proving equally suited to the barren moon as to Krakoa's lush wilderness.

There's a lot of potential in the groundwork laid here for what could be a fun and engrossing mutant monster hunt.

The second issue of New Mutants: Dead Souls maintains a lot of the potential from the first issue without really building upon it.

All in all, it's the best issue of New Mutant: Dead Souls so far.

Rosenberg has really honed in on these characters' voices and Gorham shows a some versatility in his artwork. This series just keeps getting better.

New Mutants: Dead Souls is the sleeper hit of the X-Men line.

Lack of resolution aside, New Mutants: Dead Souls' end will leave readers hungry for more.

Bill Sienkiewicz drew this comic book. That's all you should need to know, but if you're still wondering then, yes, he still knows how to do that job better than almost anyone else who has ever tried.

As usual, the book looks great, with some unique monster designs. This feels like a point-of-no-return moment for the series, and one that's sure to excite fans.

It's captivating stuff, though some of the action sequences in this issue are a bit hard to follow. Still, the series seems to be building up to quite the climax.

It's a very solid climax to the Oblivion Song story so far.

This issue is a breath of fresh air for a solid sci-fi series.

With the sibling rivalry that was once the backbone of the series now resolved and a time jump allowing the world to grow, Oblivion Song is better than its ever been.

Where the issue fails is in providing a compelling introduction to the characters, who so far feel a one note and flat. In particular, the main protagonist is very angry, but the issue provides only the vaguest hints as to why, making it hard to empathize with his anger. Still, it's a good-looking comic that involves emergency space exorcisms, so it earns some leeway to grow.

There's something interesting about Afu Chan's approach to drawing Outer Darkness.

This is a solid blending of genres, a concept that can be built on. It just needs stronger characters to carry it.

It's still hard to really care about anything that happens to anyone on this ship, and even Elox's character is undermined by the trite conclusion of this issue, but the issue does hint at the potential of this series if it could just find a way to make readers care about anyone in it.

So far, this is a more worthy successor to Watchmen than anything Watchmen's publisher has attempted.

This series is operating on such a high level, taking on ideas like how a fictional universe exerts itself over the characters that crossover into it, that's it's hard to guess where it's headed next, and that is absolutely thrilling for the reader because it has already been an incredible ride.

Peter Cannon, Thunderbolt is a comic book reckoning that's been 30 years coming.

Peter Cannon: Thunderbolt is a wake-up call for comics readers and creators. Stop worshipping at the altar. Get up off your knees. The future is waiting for you.

Planet-Size X-Men may primarily be spectacle, but it is an impressive spectacle and one that will leave hungry X-Men readers even more eager to see what comes next.

Proxima Centauri's visuals are some of the best in comics and they depict a fascinating world, though the wandering narrative may be an acquired taste.

Proxima Centauri is a masterful work of comic book craft.

Proxima Centauri continues to be one of the most beautiful comic books being released on a monthly basis, and that more than makes up for its meandering plot.

Not for those hooked on straightforward stories and consistent fantasy logic, Proxima Centauri is quite a trip for those willing to embark.

It may not have come out of the gate at full-speed, but Quicksilver: No Surrender seems likely to pick up momentum as it goes.

The mystery Kurtis Wiebe has woven around this mysterious and "helpful" mage has its hooks in deep, especially after this issue's stunning final page.

Not a bad issue, but not the series' best either.

Rat Queens #10 wraps up the current story arc, which feels like it maybe bit off a little more than it could chew.

Rat Queens feels like its in a strange space. The previous story arc was the series' most ambitious so far, but so much happened that's it is almost hard to keep track.

Rat Queens #12 taps into the series' roots for one of its most fun installments since the series relaunched.

This may be "reads better as a trade" material, but it's still another fun Rat Queens adventure so far.

It's an action-heavy and emotionally-charged issue that won't disappoint fans.

The current arc of Rat Queens concludes with some of Owen Gieni's best artwork yet.

All these changes are causing friction, which leads to an angst-ridden episode. The artwork is solid but doesn't fit the usual tone. Its linework and colors are a touch too realistic for the book's over-the-top personalities. Then again, that may be reflective of the issue's atypical mood.

The path might be rocky, but the direction is exciting. A solid issue all around.

It's all a bit messy and lacks the joy that makes the best Rat Queens stories so appealing.

The result is mostly a lot of fun. Kurtis Wiebe is able to maintain these characters' voices across genre and William Kirkby's use of jagged lines and fluorescent color gradients sells the setting, though there are a least a few panels where it gets a bit simple, to the point that it seems unintentionally comical.

This issue is sure to restore the faith of any Rat Queens fan uncertain about the series' future.

While Declan Shalvey's artwork is good, it feels poorly matched to this series, too tight and controlled to convey Wolverine's savage side or the raw emotion driving most of the action.

This is a resurrection story that has clearly drug on too long.

The series offers nothing new to say about Wolverine and no evolution, with Wolverine triumphantly exclaiming that he is the exact same character that he was before this overlong story started. Which leaves readers to wonder why they bothered.

The art is on-model, the story is solidly told, the character voices are accurate, and Oni Press provides another strong issue to hold fans over during the wait between seasons.

This issue tries, but fails to recreate the humor of its source material, playing instead like a watered down gag strip.

It isn't going to replace the Rick and Morty-sized hole inside of a fan, but it may help ease the longing just a bit.

The first story, written by Kyle Starks, is a riff on a Hunger Games scenario. The second, written by Josh Trujillo, starts as a parody of courtroom dramas and becomes something else by the end. Each is fine, garnering at least a few laughs, but no substitute for the source material.

A very solid issue all around which looks to pay dividends next month as well.

In Rick and Morty #42, Kyle Starks and Marc Ellerby bring the "Rick Revenge Squad" story to a close (or do they?) in funny and satisfying fashion.

Rick and Morty #43 is another solid installment of the series to tide fans until the television series returns.

It plays out pretty much exactly as you'd expect, but leaves it all feeling a bit forgettable, though Marc Ellerby does sneak in some great shots of the villain, Worldkiller, and his army.

Another solid if not an especially memorable issue of Rick and Morty.

Rick and Morty fans are going to love this one.

The issue looks decent enough, and there are one or two moments that earn the issue's premise, but this one is purely or the Rick and Morty completionist.

The result feels confused in its purpose and like a shadow of the original rather than an extension.

This is shaping up to be a crossover that fans of either property won't want to sleep on.

Rick and Morty vs. Dungeons & Dragons is a perfect synthesis of the best parts of both worlds.

It's a surprisingly substantial crossover and a delight for fans of either franchise.

Rick and Morty vs. Dungeons and Dragons surpasses expectations, becoming not just a fun crossover but also an excellent adventure, a retrospective on D&D's history, and a treatise on why we game at all.

Young fans may find it an entertaining diversion, but it's unlikely to be considered memorable.

At the outset, the slapstick humor and goofiness is a stark departure from past TMNT show and IDW's current line of original Turtles comics. That rambunctiousness doesn't go away, but if you can stick with you'll be rewarded with some genuinely funny moments, including an amusing concept for a mutant villain.

Based on the first two issues alone, Rise of the Teenage Mutant Ninja Turtles seems intent on becoming the gag-strip version of the Turtles. That's not a bad thing either.

The series remains a worthy diversion for those looking for a lighthearted take on the Turtles.

All-in-all, Rom: Dire Wraiths #1 is a rote and entirely skippable affair.

ROM: Dire Wraiths #2 is as much of a boring, poorly-crafted, mess of a comic as its predecessor.

SHIELD #5 is an exciting penultimate chapter of this long-lost series.

The bigger picture is that Hickman and Weaver have crafted a brilliant Marvel epic that begs to be re-read as much for its depth as to simply steal another glance at Weaver's artwork.

With Schti and Gracia providing stunning artwork and Ewing plotting the course, S.W.O.R.D. promises to be a cosmic victory for Marvel's X-Men line.

It lacks the series debut's ambition, but there are enough fun beats here to make it a worthwhile read, and Valerio Schiti and Marte Gracia make it a lush and gorgeous book.

The issue ends somewhat abruptly as these early S.W.O.R.D. issues seem dedicated to planting seeds more than giving us a full narrative arc of their own. Still, if the sowing is this entertaining and well-crafted, readers should be eager to what Ewing and company reap.

It's fun, it's gorgeous, and it'll have fans psyched for what comes next.