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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.

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.

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.

A solid-enough middle chapter of the ongoing storyline.

It's all fairly forgettable material.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.

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.

Saga returns and, as usual, doesn't miss a beat.

It isn't particularly eventful, but it is flawless in its execution.

As usual, Fiona Staples' art is gorgeous, and this issue quietly sets up what will likely be a much more dramatic next issue.

It is impressive how much tension Brian K. Vaughn and Fiona Staples are able to build even during an issue that is, for the most part, about a relaxing day at play.

It's still Saga. It's still very, very good.

Read this one and savor it. It may be the last Saga for a while, but it will likely stick with you throughout the series' entire year-long absence.

The results are something like mixing together two different action figure toy lines, but the tone makes it feel like whoever is doing that mixing is a bit too old to be playing this seriously with toys.

Renato Guedes and Simon Bowland's visuals skew heavily towards realism, which helps with the conspiracy-thriller tone of the book. Whether Andy Diggle and his collaborators can help elevate the plot to something more than it's basic structure remains to be seen.

The current iteration of Spawn feels like a blend of old and new.

Jason Shawn Alexander is still a stellar fit for the series, but here's hoping he gets something more interesting to draw than mangled fingers in the near future.

Jason Shawn Alexander gets to draw a lot of pinup-style pages here and the way he incorporates a bit of McFarlane's style into his renditions of moments from those early Spawn issues is a nice touch.

The "Gwenom" arc has brought Spider-Gwen to new levels of emotional intensity, and everything comes to a head in this issue.

Jason Latour spends a lot of time on conversations between the two, which should be riveting, but it doesn't feel like much of anything new was learned about either character.

Spider-Gwen #31 takes the themes and subtext of the series so far and makes much of it text.

It's a wonderful summation of the entire Spider-Gwen saga so far.

There's solid stuff here, its just unfortunate that the execution can't match it.

The issue brings a well-earned sense of closure to the saga of the Spider-Woman that fans who have been following the series won't want to miss.

This feels like a skippable episode of an otherwise enjoyable story.

The return of the Sinister Six story continues in the pages of Spider-Man and its... fine.

The penultimate issue of Brian Michael Bendis' Spider-Man run is, unfortunately, little more than an average throwdown between superheroes and supervillains.

The Star Trek vs. Transformers crossover hits the ground running with the gleeful energy of a child mixing two sets of action figures for the first time.

The penultimate issue of Star Trek: Boldly Go sets the series up to end on its highest note.

The finest comic in IDW's Star Trek fleet comes to close with an excellent, if not quite perfect, landing.

IDW'S first Star Trek: Discovery miniseries continues to trudge along, but at this point is hard not to wonder why.

It's definitely a plot over character kind of story, but if you're seeking additional context for the events that kickstarted Star Trek: Discovery's first season, then this will not disappoint.

This is exactly what a Star Trek: Discovery tie-in comic should be, providing insight into the show's characters by telling a story that doesn't fit into the narrative of the television series itself.

Angel Hernandez strikes the perfect balance in the art to keeps the characters recognizable but also stylized in an interesting way and the final page twist is predictable but still exciting.

Succession is the perfect companion piece to Star Trek: Discovery and a must-read for anyone missing the show.

This is everything a Star Trek fan could want from a comic book series and a mirror universe story unlike any in Star Trek's history.

Angel Hernandez's artwork as as solid as ever, and writers Mike Johnson and Kirsten Beyer give fans an unexpected ending to this Discovery tie-in.

Writers Scott & David Tipton will also be familiar to Star Trek comics fans and they begin this story on a slow burn, but it seems like a tale destined to go in some interesting directions as we see mirror Barclay redefine the character's relationships with his colleagues.

The creative team here is capable of solid storytelling, but this issue just does not come together in a way that makes sense.

Star Trek: The Next Generation - Terra Incognita continues to be a curious series. Billed as the next installment in The Next Generation mirror universe series, the issue minimizes Barclay's role. Instead, the issue plays out like a lost episode of Star Trek: The Next Generation. Captain Picard plays the familiar role of mentor when one of his crew members comes to a emotional turning point.

With the mirror universe Barclay story still simmering in the background, this is another delicious serving of comfort food for Star Trek fans.

There are some characterization issues -- Worf seems strangely standoffish even by his standards when dealing with Dr. Crusher -- but the story, on the whole, is still solid Star Trek goodness, and the surprise ending promises that Barclay's storyline will finally be resolved in the next chapter.

Star Trek: The Next Generation: Terra Incognita #6 brings Mirror Barclay's trip to the Prime Timeline to an end, but feels less like a conclusion and more like it is setting up whatever the next chapter of the Mirror Enterprise-D crew's story turns out to be.

So far, "Through the Mirror" is an absolute blast for Star Trek fans.

Through the Mirror struggles a bit in its third issue. The action finally begins in the first story, but Josh Hood's artwork doesn't match the level of polish of the two artists who preceded him.

Through the Mirror spins its wheels a bit this week and feels mostly like a setup for what's to come in next week's finale.

It's an incredibly fun read that does a great job setting up the next chapter of The Next Generation's mirror universe saga.

Scott and David Tipton, veterans of IDW Publishing's Star Trek comics line, know these characters well and draw out their voices effortlessly. Nonetheless, this issue is all set up, an overture before the story really kicks off. Readers will have to wait until next issue for the follow-through.

The mixing of crewmembers hurts the series on a conceptual level -- crew vs. crew was more interesting than pitting semi-random assortments of Starfleet officers against each other -- but also on a practical level since most of the characters have no established chemistry with their teammates.

While there are ways this event could better execute on its promise, it isn't a bad read.

The Tiptons provide some of their best characterizations yet as they bring out some of each character's history, and Silvia Califano proves more than up to the task of taking over for David Messina, offering crip artwork with stellar likenesses.

It's not bad, but it doesn't feel like it lives up to its potential.

It's a solid package and any Star Trek fan should find something to love in it.

Fans of classic Star Trek will not want to miss this.

At two issues in, Star Trek: Year Five is an absolute must-read for Star Trek fans.

The pacing of the issue a little frontloaded, but it's still a solid, worthy successor to Star Trek.

The first issue may not quite stick the landing, but Stellar is beautiful and promises a world of possibility to come.

Stellar is epic sci-fi superhero action with gorgeous artwork and haunting themes and if any small part of that peaked your interest, or even if it didn't, you should give it read.

Brett Blevins continues to deliver one of the most gorgeous sci-fi experiences in comics in Stellar.

If sweeping cosmic superhero sagas with a dark side are your kind of thing, Stellar will do you right.

If you're a fan of Wood's past Viking-era dramas like Northlanders and Black Road, or even his Revolutionary War series Rebels, Sword Daughter is the spiritual successor you've been waiting for.

Sword Daughter shaping up to be a journey worth going on, bumps in the road and all.

The issue won't turn off anyone who enjoyed the first two, but it doesn't live up to its potential.

Sword Daughter #4 flashes back and forth between the two narratives. It is a bit of an adjustment, with the future scenes feeling a bit divorced from context, but there is an added texture in being able to see the ramifications of this father-daughter journey immediately in Elsbeth's future.

Perhaps it's the jumping back and forth between time periods or maybe they've lost the thread of the original impetus for this father-daughter journey, but Sword Daughter hasn't quite congealed into a cohesive narrative whole and so the heavy emotional beats just don't land like they should.

The payoff could have been a bit stronger with a little more time spent emotionally investing readers in Elsbeth and Dag, but the thematic resonance is strong.

A strong return.

Up until now, Teenage Mutant Ninja Turtles has always felt like it was at its best during its more intimate stories. The fourth chapter of "Invasion of the Triceratons" shows that Tom Waltz and company can be just as adept at telling a story about urban warfare.

After a powerful and focused penultimate issue, the final issue of "Invasion of the Triceratons" struggles a bit to stick the ending.

A solid, if not momentous, issue.

It's a decent installment, but we're still waiting to get to the meat of this arc.

There's action and humor and pretty much everything fans have come to expect from another solid issue of TMNT.

The TMNT team is playing the long game here, and this is one more tension-building step down that road.

This is another solid issue that will leave Turtles fans happy.

David Wachter's style has become a bit darker and more jagged and that evolution fits well will this issue, which feels like the opening of a war story.

The Teenage Mutant Ninja Turtles creative team continues to up the stakes of the Battle for Burnow Island with another solid issue.

The art is stellar, as usual, and while there are still some loose ends to wrap up, this definitely feels like turning the page into the next chapter for the Turtles and their extended cast of characters.

All in all, this is a real Christmas treat for Turtles fans.

Fans will appreciate this calm issue, which offers an opportunity to touch base with these great characters before all hell breaks loose again.

The issue impresses by delivering solid character interactions that work in and of themselves, but also reminding fans of how far these characters have come over the years - especially how all their lives were changed by the "City Fall" story and the milestone issue #50, which helps build anticipation as the series marches towards the "City at War" arc issue #100, a story that seems increasingly likely to revisit certain choices and fallout from "City Fall."

Kevin Eastman, Bobby Curnow, and Tom Waltz have channeled Chris Claremont's X-Men in weaving the various story threads at play to lead to this point.

TMNT fans have been waiting for this story for years, and it's off to a strong start.

Another solid issue in one of comics' most consistently excellent series.

A strong issue in a consistently solid series, with a final page that will have fans talking for sure.

The first issue of the TMNT Macroseries is essential to any Turtles fan.

If you can get past the weak setup, this is a near-perfect Teenage Mutant Ninja Turtles story.

Some of Santolouco's dialogue is overwrought, but otherwise, this is an exciting issue that any Turtles fan will want to check out.

The story set in hell allows Mateus Santolouco to go absolutely wild with his artwork and character designs, and that " plus the development of Shredder's character in an exciting direction " makes it all worthwhile.

Mondo's descent into punk rock raging against the machine is a bit on the nose, but Ryan Ferrier provides a solid foil in how he writes Michelangelo and Pablo Tunica's loose linework and Patricia Delpeche's saturated colors are the perfect aesthetic for Mondo's worldview.

Altogether, TMNT Universe #20 is a great package for Turtles fans.

The story will be of interest to anyone following the Turtles saga, but watching these aliens try to hammer out the logistics of cohabitation isn't the most exciting Turtles adventure ever.

Paul Allor wraps up the Triceraton and Ultrom story on Burnow Island (for now) with a surprisingly dark episode of political intrigue.

It's a fun concept, but the tale ends so abruptly that it feels a bit more like a pitch than a complete story. All around, an okay issue, but not a standout.

Still, while it may be familiar territory, Flynn and Daniels do a solid job of bringing this spiritual realm to life and, much like the most recent arc of the core Turtles book, this helps build tension heading into the coming showdown between the Turtles and the Pantheon.

Four issues in, The Dreaming is a worthy successor to The Sandman, and an engrossing fantasy in its own right.

The Dreaming continues to enthrall readers with the epic and mysterious tale of realm in flux. Or, as this issue would put it, caught between an ending and a beginning.

The Dreaming is a joy to read, but is likely to be even more rewarding now that this first arc is complete.

It's an invigorating opening to The Dreaming's next chapter.

Abigail Larson's flowy pencils with Quinton Winter's soft colors were the perfect companions to this surreal, secondhand retelling of Dream's time on the mortal plane.

It's a rich and beautiful book that never disappoints.

Another solid installment of an excellent series.

This is brilliant comics working well within the spirit of the original Sandman series.

A brilliant start to a series worthy of your attention.

Cafu and Butch Guice bring their best, making Harada's past and present feel distinct but both still worthy of exploration.

Joshua Dysart has kept things compelling through the series so far, and we expect nothing left from the final act.

It's another fascinating and appropriately bombastic chapter in the story in the story of one of the Valiant universe's most interesting characters, as well as a turning point for the motley crew of allies he had assembled around him.

Cafu and Kano provide some stunning, quiet, personal sequences, making this another must-read issue.

The issue is written by David A Goodman, a writer and executive producer on The Orville, so it should come as no surprise that the issue's dialogue and plot are pitch-perfect.

Dynamite rebuilds the Six Million Dollar Man for a new series that will delight new and old readers alike.

Hahn offers clean, simple, and expressive artwork that still manages to deliver the shock and awe of more explosive moments.

Each issue has been a delight, but it has been a delight in almost exactly the same way each time. Which has to be among the best problem a serialized story can have.

Delightful as ever.

This issue of The Six Million Dollar Man is as delightfully drawn an earnestly written as the wrest.

It's a slow-going issue, but hopefully sets the stage for a more exciting finale.

It isn't bad, but if the creative team can sharpen their voice and let the visuals do more of the storytelling in future issues then this could be something more.

Ben Bates' is still the perfect artist for this story, but the script still doesn't quite keep pace. It's like two musicians playing the same song at different tempos.

Weaver's art and the chaotic material make this issue feel like the miniseries has finally achieved its potential for highly destructive hijinks, which has been there from the start.

This issue feels like connective tissue put between the over-the-top chase scene that made of up most of the previous issue and what looks to be an action-heavy climax, but it is still worth the ride.

Bebop and Rocksteady Hit the Road will be a fun ride for hardcore Turtles fans, but an easy pass for more casual fans.

Typhoid Fever X-Men feels like it was a failure from the word go.

The issue is certainly an attention grabber, with plenty to love on the surface, but comes up short on substance.

With all of the attention-seeking stunts of the first issue out of the way, the second issue of Uncanny X-Men -- drawn by RB Silva, an unsung hero fo the X-Men line -- moves at a much steadier pace, giving its large ensemble cast proper room to breath and readers something to latch onto.

Uncanny X-Men's "Disassembled" arc is beginning to read a bit like an "and then"" improv exercise that got out of hand.

The fourth issue of Uncanny X-Men takes the "Disassembled" arc from "not living up to expectations" territory to being actively frustrating.

The story still feels a bit too much like a pastiche of '90s X-Men events like "X-Cutioner's Song," but it's a big step up from last weeks nadir.

Uncanny X-Men continues to feel like an overplayed greatest hits album.

The quiet is welcome in a series that has been so much cacophony so far, and hopefully, the sense of focus will carry through the final act of "Disassembled."

It's another case of "Disassembled" remixing old X-Men ideas rather than offering much new, but it is solidly crafted at least.

This story has been unfocused and detached and failing to invest readers early means the payoffs aren't paying off the way they should.

Despite the many talented creators involved, "Disassembled" was not the rousing return of the flagship X-Men series that it was made out to be.

Mutants being on the verge of extinction for different reasons has been Marvel's status quo for the X-Men for years. Uncanny X-Men #11 sells that idea better than any attempt before.

Uncanny X-Men is again a strong story hampered by murky artwork.

There's a bit more handwringing about Cyclops' time as a revolutionary than seems necessary, and there's also a couple of moments where another panel beat would have helped. Otherwise, Rosenberg has a solid take on the X-Men for the era they're in, and the execution issues that have hounded the series seem to be improving.

Larroca provides stellar artwork and Matthew Rosenberg writes the team with a sense of camaraderie the infuses each scene with joy. The issue ends with the team toasting to small victories, and that's an apt reaction to this issue.

Rosenberg is making the X-Men feel like they matter again in a way that's bigger than the Marvel universe.

This issue has more great character moments, though does suffer from some clumsy pacing in the back half of the issue, which has way too much going on for its own good, even if they are all good, entertaining things in their own right.

The melodrama that creeps in is understandable but feels cheap compared to what is at the core of the story. Still, this a standout issue of what has already been a stellar run.

It's fine, but a little too illusory for its own good.

The artwork in this issue is surprisingly consistent for having three credited pencillers and sets up an exciting conflict to come.

This is a weak issue from a creative team that's proved they're capable of much better.

It feels like this run, which started strong, is running out of gas before the end.

Matthew Rosenberg's run on X-Men started off feeling fresh, focused, and energetic. As it's continued on it's grown a bit unwieldy, and that feeling is present in this final issue as well.

The issue has solid art and some strong character work, but otherwise, it feels like a continuity bridge between two different eras of X-Men and little else.

The individual elements can be enjoyed, but they don't quite form a cohesive whole.

The "Poison X" crossover between X-Men Blue and Venom continues in Venom #162, and the story may be suffering from symbiote overload.

Perhaps when the larger Poisons storyline that Cullen Bunn is telling is complete this chapter will feel more worthwhile, but for now, it just feels like a derailment of what he had going on in X-Men Blue.

Venom is beginning to feel like a skipping record. Each issue plays out pretty similarly to the last.

The first issue of Venomized makes it clear that Cullen Bunn has thought long and hard about how the mechanics and ecology of symbiotes and Poisons work. Unfortunately, those details aren't particularly interesting to have explained.

Venomized feels like a comic book with the volume turned up a bit too loud.

Venomized remains hard to recommend, but at least it's pretty and the plot seems to be going somewhere in this issue.

If Venomized ever had a narrative thread, it has certainly lost it by now.

The issue stumbles a bit at the end when the heroes regroup and transparently lay out the pitches for the many "War of the Realms" tie-in series being published alongside this main event, but it's a minor sin for such an epic tale ot commit.

What If? Magik packs a novel's worth of story into a single comic book.

Wolverine: The Long Night emphasizes the mystery around the metal-clawed mutant and will suck you in.

The comic book adaptation of Wolverine: The Long Night continues to be an engrossing bit of rural noir as the federal agents continue to dig up the mystery at the heart of this small, Alaskan town.

Most of the story feels like it happened before the first issue and we're playing catch-up along with the investigating agents. Even with that small tic, Wolverine: The Long Night is one of the best Logan stories that Marvel has published in years.

It's a slow burn, but a good one.

It's an abrupt, clumsy end to an otherwise stellar adaptation.

As the opening chapter in a story that will continue throughout X-Men Black, it's just enough to whet your appetite, but Nadler and Thompson's take on classic archvillain Apocalypse, Geraldo Borges' artwork, and the hook that reveals itself at the twist at the chapter's end will have readers intrigued.

X-Men Black - Mojo delivers a surprisingly heartwarming villain tale.

The Apocalypse backstory slows the pace down a bit in this installment, but the chapter ends on a note that suggests things are going to pick up in a big way next week.

Robbie Thompson's story dives into Cain Marko's psyche, both literally and figuratively, but rather than revealing anything new, it doubles down on who we already understood the Juggernaut to be.

It can not be emphasized enough how essential this issue is for anyone with a soft spot for Emma, and its plenty enjoyable for everyone else as well.

The idea of pairing up the X-Men and Venom is still fun since its so unusual, the story Bunn is telling is still resting on solid legs especially given the interesting final page turn, but this issue stumbles a bit in its execution.

X-Men Blue #22 continues the "Poison X" crossover with Venom, and the story feels like its dragging.

Cullen Bunn writes Magneto exceptionally well, so this issue plays to all of X-Men Blue's strengths.

Bunn seems to be going somewhere, but the road to get there is a bit bumpy.

It's not awful, but it feels like it should be much, much better.

X-Men Blue feels like it had a lot of its life sapped out of it due to its main character being elsewhere during what feels like the culmination of over 20 issues of stories.

Marcus To does a solid job with the art, but there's still the lingering feeling like X-Men Blue became a different book at some point.

X-Men Blue is a comic where important things happen, but the comic itself fails to make those things feel important.

The serviceable but not particularly memorable artwork does little to elevate the material.

X-Men Blue #30 is a textbook example of a serviceable superhero comic book. There's some melodrama, some fighting, some teases of things to come, but none of it is particularly memorable.

It finally feels like X-Men Blue is back on track and headed towards an exciting climax.

It is hard not to feel a little divorced from the rest of the issue's events as a result, those events comprised mostly of seven mutants yelling very passionately at each other.

Marcus To delivers stellar visuals in what is a solid issue that seems primarily interested in setting up bigger thing to come.

Marcus To shows some of his best work, building to a final visual note that will leave readers, longtime X-Men fans in particular, with chills.

The biggest flaw here may be that it will leave fans wishing we saw those vignettes explored in more depth. But all good things come to an end, and X-Men Blue #35 is a thoughtful, satisfying beginning of the end for the original five.

This is a graceful and satisfying end to X-Men Blue and closing chapter to the All-New X-Men saga.

The character work and plot set up is of a high enough caliber to carry the issue few, but the rough around the edges artwork keeps the issue from truly soaring.

X-Men Gold #22 doesn't stray far from typical X-Men superhero fare, but it executes that material very well.

It may be comfort food for X-Men fans, but it's good comfort food.

X-Men Gold #24 is a low point for the series.

X-Men Gold #25 loses all sense of narrative causality.

The road to the wedding of Kitty Pryde and Colossus begins here, with a flashback drawn by David Marquez. It's beautiful, but given the problematic elements of the early days of Kitty and Peter's relationships, one wonders if reminding fans of those early days is a wise choice.

Still, despite some small art hiccups, the strengths of this issue far outweigh the flaws, delivering one of the best installment of X-Men Gold in weeks.

While X-Men Gold has been inconsistent as of late, issue #29 gets back to what made the series' early issues so much fun: high action-adventure and enjoyable dynamics between the characters.

It's a beautiful, complicated issue that's sure to bring out some complicated feelings from fans, and it's all the better for it.

It's a solid start to what seems like it may be the story Marc Guggenheim has been building towards through his entire run.

X-Men Gold seems to be hitting its denouement as it wraps up every long-running plot that Marc Guggenheim planted in his run.

The result is a relatively quiet but solid chapter that moves X-Men Gold closer to its finale and whatever may be next for the X-Men.

It is a strange way for X-Men Gold to be heading towards its end. With most of the cast unrepresented, this feels like a postscript to the wedding. Perhaps Guggenheim will bring it all together for the finale, right now the book feels a bit listless.

There's nothing to hate in X-Men Gold #35, but there's not much to love here either.

On a technical level, it's solid, but it feels like a strange note to go out on.

McGuire's story strips down the character to her basest parts to discover what it is at her core that really defines her and Failla's artwork does a great job of depicting the character and her campmates as being at that transitionary early teenage.

X-Men Red teases the return of a villain who is perfectly suited to the story the series is looking to tell. In their first issue, Taylor, Asrar, and company present a story that has plenty of visceral energy and that seems interested in carving a new path for these characters rather than recapturing past glory. That combination of big ideas and big action makes X-Men Red one of the boldest new X-Men comic in years.

X-Men Red is still going strong.

X-Men Red is the X-Men book to watch.

While some of the books in the X-Men line seem devoted to recapturing past glory, X-Men Red continues to be the one interested pushing the X-Men into the future just as much as Jean Grey is trying to build a future for mutantkind.

X-Men Red #5 continues to do what this series has done so well already, only even more-so.

Even without all of that long-term X-Men history in your head, X-Men Red is an exciting, relevant, high-concept, and epic superhero adventure.

X-Men Red #7 is arguably the most pedestrian issue of the series so far, but it is a still very good superhero comics.

It may not be the series' best installment, but it's still pretty darn good.

This issue is lighter on the metaphor than most of the series has been, but has enough strong relationship moments and excellent characterizations that it will likely still leave X-Men fans with the urge to pump their fists in the air.

Tom Taylor's script starts slow here, but before the end, he's managed to toss out another big, ridiculous idea that no one was likely to have seen coming and that will have will have fans ready for the big finish.

As unfortunately short-lived as it is, X-Men Red is one of the best X-Men stories of the past decade.

By the end, the emotional punch of X-Men Red Annual #1 more than makes up for the moments when it doesn't quite come together.

The stories go from bad, to not bad, to good, making the issue easily recommendable if you're really invested in these characters, but easily skipped if you're not.