Even for a relative neophyte to Bond's canon, King and Country has enough attractive flair to make it an enjoyable read and energetic reading experience.

Even as a casual James Bond fan at best, and even with 007 survival assured for future adventures, I find myself determined to learn how this clash of ideologies resolves itself and whether there's anything left of the relationship caught in the crossfires.

It'll be interesting to see how this develops over future issues, but I'm apprehensive after issue one.

It's a series built around the charms of a particularly uncharming character, making reading it a dense chore.

A Vicious Circle #1 indulges in the too-familiar trope of killing a barely developed, innocent supporting character to motivate its protagonist in what feels like a transparent attempt to add unearned, instant emotion to the plot.

The plot reads like a spec script for an action movie, specifically the part where the protagonist fills us in on the minimum backstory required to justify the fight scenes. The artwork remains strong but offers fewer opportunities for Bermejo to play with different styles, making it less exciting than the previous issue, if not any less skillfully done.

The Progenitor refuses to let Jean off the hook for the death of the D'Bari people, but Jean doesn't seem to learn or change based on his judgment. Instead, she deflects, focusing on the Celestial's hypocrisy rather than her anything interior. It's a shame because tackling questions about whether fictional characters need to be held accountable for crimes committed decades ago under another writer's pen seems like the kind of thing writer Kieron Gillen would knock out of the park. Instead, he sidesteps, and all that remains is a sparse, basic infiltration story drawn in something approaching the early 2000 shadowy realism popularized by Bryan Hitch and others, minus the obsession with cinematic framing and lacking depth.

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.

This whole exercise could have been a by-the-numbers extrapolation of what happens when a writer chooses option A over option B or when a character outlives their relevance. Instead, the tale is adding more depth to the character without fundamentally undercutting the thematic underpinnings that defined him in the first place.

While the story of All-New Firefly as a whole is weighed by the tonal shifts in the series that preceded it, this finale issue, built on sentimentality though it may be, hits the spot.

It's not an outstanding issue but it is a stellar reset setting the stage for the series' new era.

There's still hope that this series will find its footing and learn to walk a balance between fresh and familiar, but this issue isn't it.

Jayne's arc is a good hook, but the rest of the issue doesn't come together.

The issue frames the story again by focusing on Jayne, first with another flashback and then with a surprising ending that could go in a few different directions but will unavoidably change the character. Is Jayne Cobb ready to grow up? That seems to be the question All-New Firefly is looking to answer, which could lead to either a frustrating or delightful new status quo.

All-New Firefly #5 makes the case that this story will read better in the eventual trade-paperback collection. It takes this issue's reactions to the unexpected revelation at the previous issue's end for seemingly random asides from earlier issues to begin congealing into a cohesive narrative.

It's a low-key issue, but not uninteresting.

There may be a bit too much going on in this story arcspeaking for myself, between the Tax Collector and the monks, I'd almost forgotten the whole Jayne has a son subplotand I may be grading on a curve because the series has been on shaky ground lately, but this totally unremarkable but competently crafted issue of All-New Firefly somehow feels like a win.

A simple plot paired with repeated ideas makes it feel like this All-New series may be running out of steam quickly.

While All-New Firefly has had its ups and down thus far, and the arc has gone on perhaps too long, the idea of introducing Jayne Cobb's son, Owen, into the mix is starting to pay off nicely.

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.

It feels a bit like the issue throws readers into the middle of an ongoing series, and the lack of familiarity with these particular versions of the characters makes it hard to feel invested when apparent tragedy strikes. But there are hints at multiverse madness afoot, and while the story may not fully get readers to invest emotionally, it'll likely have them curious enough to want to see what happens next.

Even as is, it isn't a terrible diversion for Angel fans, but it doesn't transcend that as its purpose.

It's not bad but suffers from the same lack of focus and direction that seems to have infected all of Boom's Buffy-based efforts.

The first arc of Angel never really established a reason for its existence beyond simply putting out more Angel content. As far as that goes, it isn't bad. However, the decision to set it in a just-slightly-different timeline is ultimately more confusing and distracting than additive, and judging by the final pages of this issue, that problem may only worsen.

It's a clumsy but passable issue, but not an exciting one.

Boom Studios' current Angel series from Christopher Cantwell, Daniel Bayliss, and Patricio Delpeche fails to shake some of its frustrating flaws in its sixth issue. Again, it feels like we missed an installment as a significant amount of time appears to have passed since the previous issue's events.

Angel #7, while crafted well enough, is built on shaky ground.

It's just a shame that what came before wasn't more cohesive.

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.

Avatar: Frontiers of Pandora Solek's Journey #1 is a solidly assembled start to the character's pilgrimage.

It's a fine enough comic for fans of the game or the larger Avatar franchise, but it's unlikely to impress outsiders.

"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.

Avengers: Tech-On remains an idea in search of a story worth telling.

The series continues to fail to build on the base pitch in an exciting way.

There's not much here to recommend as Avengers: Tech-On continues to take an exciting premise and execute it poorly.

When thinking back on Tim Burton's Batman films, it's the gothic aesthetic that endures. Quinones' tight linework and framing, and Ito's blue-purple color palette imbue it onto every page of this issue. With its unexpected ending, Batman '89: Echoes #1 is a thrilling return to a fan-favorite era.

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.

It's a wonderfully crafted comic with a far more ambitious narrative scope than anyone was likely expecting.

https://www.previewsworld.com/Catalog/JAN241401

Previous issues of Batman '89 were solid, but the team seems to now be firing on all cylinders.

Leonardo Ito may be the breakout here. He manages to find the right visual tone to make Gotham City feel like a world of perpetual twilight.

Despite some muddled storytelling, the overall vibe remains intact and this series' most significant asset. If you've come this far with Batman '89, this issue won't disappoint.

The issue proves to be a satisfying conclusion, elevated by brilliant artwork, making Batman '89 a worthwhile successor to the films that inspired it.

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.

Black Cloak #1 ticks the right boxes for sci-fi storytelling, hooking readers in to see its mystery unfold.

Perhaps it's got to do with the series' double-sized debut, but Black Cloak #2 feels both overstuffed and truncated.

Black Cloak's first arc is still unfolding, but one hopes Kelly Thompson isn't drawing comparisons they're unwilling to address head-on down the line. Further, this issue introduces some familiar police story tropes into its narrative, such as the cop with a newborn at home, and some of the ribbing between the partners, while providing some levity, clashes with the gravitas of a murder investigation, especially one that could have such devastating effects on the city.

The issue's ending promises answers, but the current lack of them remains a pain point distracting from the mystery at the series' heart.

As with past issues, there are too many moments that seem meant to be significant but don't quite land because the reader lacks all the requisite contextual information to understand its impact.

Those who demand those answers might be disappointed, but the issue is a game-changing conclusion that promises a very different type of story when the series returns.

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.

With a listless plot and clumsy visual storytelling, this issue of Buffy the Vampire Slayer is another that doesn't justify its existence.

The series is overly-busy, and it hasn't given Joyce and Buffy's relationship enough weight for any of this to feel meaningful. This comic just can't land the big beats, making it feel like a hollow endeavor.

It seems the series' creators can't grasp the correct pacing to give any of the story beats in this comic the appropriate weight.

There's not much here narratively to latch onto as the issue moves characters from point A to point B, reading like a rough draft of half-baked thoughts.

Buffy the Vampire Slayer has needed a refresh for a while now. The best thing about this issue is that the opportunity has finally come.

It's not a terrible package, but it hardly feels like the celebration it ought to be.

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.

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.

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.

It's hard not to feel like Buffy the Last Vampire Slayer is ripe with wasted potential and only suited for those who can't get enough of Boom's take on the Buffy mythology.

It's got plenty of hooks to sink into Buffy the Vampire Slayer fans, which makes it a shame it flubs the execution this badly.

Buffy the Last Vampire Slayer #3 remains clumsy in spots, but this series makes a case for its existence for the first time.

The issue asks what happens to a Slayer after their slaying days are over, becoming a fitting coda to the Buffy the Vampire Slayer saga fans know and love.

Despite its flaws and inconsistencies, it does fulfill the brief of giving readers time with the ur-versions of these characters, and they feel authentic here. That'll be enough for some fans.

Altogether, it's a stellar start to this version of Buffy's future.

Despite the wrinkles, it all rings a little too familiar to be genuinely exciting, and the busy artwork makes it hard to connect with the characters. However, it at least feels like a story built on firmer ground than some of the Buffy comics that preceded it.

Thessaly remains a compelling character and a believable evolution of the Slayer role for a new generation. However, Buffy the Last Vampire Slayer needs greater focus in its plotting and visual storytelling if its creators hope to do the character justice.

Buffy the Last Vampire Slayer #4 is a disjointed mess of a comic book.

There's a nice two-page spread as well, but on the whole, this is a puzzling, unpolished conclusion to an uneven 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.

Carnage #1 is on the cusp of something worthwhile but hasn't fully invested.

If it can shed its ponderous pacing, Carnage might become something worthwhile.

Even as Carnage #3 offers up the series' centerpiece a showdown between the original Cletus Kasidy and the Carnage symbiote, with its coughed-up clone it lacks the focus and seems at odds with itself.

The book slow crawl and lack of clear purpose make it ill-positioned for a crossover with another title, but all Carnage stories seem to inevitable lead back to Venom, and here we are.

It feels like there are ideas buried here, but the lack of mood and motion makes it hard to invest in whatever the narrative is trying to say.

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.

With the impeccable execution of two masters at the top of their game to back it up, this is easy to recommend for anyone who wants unnervingly relevant genre fiction.

Manapul doesn't get quite the same opportunities to flourish here as he was in the first issue. However, he still turns the high-quality visuals expected of a master as Clear continues to dig into what is so subtly haunting about our current existence.

The explanation for Dunes' helmet handprints comes dangerously close to being over-the-top melodramatic, but the grounded tone helps rein it all in for another engrossing issue.

The issue begins with Dunes hanging on for dear life and ends with him willingly diving off a bridge, a poetic microcosm of Dunes' descent through the pages of this masterfully crafted slice of tech-noir storytelling.

It's a largely conversational issue, meaning Manapul doesn't have as many opportunities to flex. However, he still delivers an exceptionally crafted issue of teeth-grinding noir accented by burnt-out colors as everything Dunes had taken for granted falls apart around him. Bring on the conclusion, and soon, please.

Clear's dystopian future feels frighteningly familiar, making it a vital, essential work of cyberpunk neo-noir.

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.

Crush & Lobo takes a turn for the weird(er) in its fifth issue, somehow turning this chapter into a riff on fairy tales, Hansel & Gretel in particular. It's an odd choice, but it maintains the clever, reader-facing writing, brilliant penciling, and neon coloring that have defined the book's aesthetic from the start.

Crush and Lobo #6 is a little thin on plot but still packs plenty of fun.

This installment may not be the most emotionally rich issue of the series, but who can argue with a lovingly crafted game of capture the bounty between Crush and her deadbeat space dad?

The final chapter of the excellent Crush & Lobo series suffers from a case of narrative indecision, seemingly caught between providing a sense of closure and leaving the conclusion open-ended enough for a sequel.

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.

What comes next as Dark Space: Good Deeds continues will ultimately determine whether this introduction is worthwhile, but the chances seem good that'll only get more interesting from here.

Dark Spaces: Good Deeds #2 keeps the Vertigo vibes established in the first issue but still hasn't firmly differentiated itself from other stories in the genre, ultimately repeating the same narrative bits.

Visually, the issue still feels like it walks the line between realistic and supernatural, but the pacing is tripping up the story.

It's a version of the old "built on a native burial ground" trope, but Good Deeds treats the idea with more respect, nuance, and detail than usually afforded by shlocky horror stories.

Dark Places: Good Deeds may be falling into a common trap, which is including one twist too many.

The conclusion to Dark Spaces: Good Deeds reads like watching the end of a Twilight Zone episode on fast-forward.

The Hollywood Special #1 does some fantastic character work with grounded stakes for well-realized characters. That should be enough to get readers to come back for more.

A strong enough follow-through in subsequent episodes will make it worthwhile, but it's hard to know what you're investing your time into.

The issue puts the horse before the cart at times when pacing out its plot, but there are some wonderfully creepy moments in the construction.

Dark Spaces: The Hollywood Special continues to pair luminous artwork with an unmoored narrative.

It's still an attractive comic to look at, but it feels like this issue needed to accomplish more narratively than what it ultimately managed.

There's some impressive craft herethe art in the series has been a consistent highlightbut at the end of it all, the reader might struggle to explain what the story was about.

Dark Spaces: Wildfire #1 is an eye-catching and evocative debut.

It's gorgeous storytelling all around, as Snyder, Sherman, and Pattinson depict the moments of joy before everything begins to go up in flames.

Three issues in and the structure of Dark Spaces: Wildfire, paralleling the heist to the stages of a fire, remains strong.

Dark Spaces: Wildfire #4 reads faster than the previous three. That may be because, as the metaphorical fire running parallel to this story reaches the "high heat" phase, there's not much left to do but step on the gas with action and twists.

Wildfire proved to be a brilliant debut both for IDW Originals and Snyder's Dark Spaces concept.

Even if the reader doesn't recognize or appreciate the issue's subtext, this is an enjoyable superhero book for anyone attracted to the darker side of the genre.

The focus on mood results in a sluggish pace of the plotmuch of Dark X-Men #2 is spent on bickering between teammates and the filling in of backstoriesbut it's a worthwhile tradeoff when the mood is apple this well.

The pacing is a bit on the slow side, but Foxe is still nailing that horror-tinged narration, and there's enough weird going on here to want to keep reading.

Dark X-Men #4 starts on a strange foot. Gambit touches base with his wife Rogue, who hasn't appeared previously in the series, seemingly as a reason for him to recap the series thus far. Given this is the penultimate installment of a five-issue series, that hardly seems necessary. Once that's out of the way, Steve Foxe, Jonas Scharf, and Frank Martin kick things into a higher gear with a mercilessness typically reserved for horror stories rather than superheroes.

The artwork remains as appropriately dark as it has been, setting a grim mood, but much of the action feels uninspired, perhaps because the real conflict is in the staredown between the Goblin Queens while other threats previously built up as formidable fall fairly quickly.

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

As a package deal, DC's 'Twas the Mite Before Christmas is hardly essential reading but should satisfy anyone with a craving for holiday heroics.

A clashing of tones that fails to commit to one sensibility or another, or even to the tension between, creates a disorienting reading experience that fails to pose some obvious and important questions about its central characters.

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 Yashida Saga" ends true to form, with gorgeous artwork and a fable-like tone, but an ambition to expand the Demon Days universe further keeps the ending from being entirely satisfying.

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.

If you love Momoko's work or are interested in Japanese folklore, that's likely enough to make the issue worthwhile, but the storytelling leaves something to be desired.

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.

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.

Even for the most dedicated Dune fan, there's not much here to recommend.

Dune: House Atreides continues to be an uncompelling prequel.

But the issue ends on an odd note, driving home that the series title refers to Leto's coming of age, referring to himself as House Atreides.

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.

A Whisper of Caldan Seas doesn't have much in the way of plot. It reads like a moment, but that moment's emotive storytelling will stick with you.

The plot is spread too thin, is so lacking in focus that it's a struggle even to enjoy it as a fictional history of a fascinating universe. It's almost literally a shadow of what spawned it.

This issue isn't simply terrible. It's offensive in the most careless and puerile ways.

At best, The Waters of Kanly #2 offers the briefest glimpse at how Arrakis suffers under Beast Rabban's rule. That's hardly enough to make the issue a worthwhile read.

Ultimately, the issue doesn't do much that one couldn't gather from a Wikipedia summary, failing to truly engage the reader at any point with its thin plot, near-nonexistent characterizations, and competent but unmemorable artwork.

It's an entirely baffling end to an utterly pointless story.

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.

They say you can't go home again. After reading Fall of the House of X #1, it feels like Marvel and the series' creative team may be poised to test that maxim, clumsily stumbling all the way back to Xavier's front door. -

Fall of the House of X #2 is full of moments where the artwork fails to live up the pitch.

At three issues in, Fall of the House of X has become the antithesis of the House of X miniseries from which it takes its name. Where Jonathan Hickman insisted that all other X-Men titles end before he began his run to ensure that House of X (and Powers of X) were the sole, singular X-Men narrative for readers to focus on, Fall of the House of X feels less like a story in itself and more like a highlight reel of events happening in the handful of other Fall of X stories that are running simultaneously.

Fall of the House of X #4 has a lot going on. None of it quite hits the mark.

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 are the bones of a good story here, and Pak's characterizations are always spot on, but it's all a bit too muddled to appreciate fully.

The Firefly series is way out of the franchise's comfort zone at this point, but this installment makes for solid reading.

Firefly #35 is the picturesque quiet before the storm.

It's not the conclusion most would expect, but little about Pak's run has been, and this finale radiates that he's entirely at peace with that.

In a way, it's a microcosmic example of the odd direction the Firefly comics have gone in since coming to Boom, with the characters behaving like cartoonish versions of themselves ("It's Jayne time"?) and a heavy reliance on sci-fi plot devices, neither of which helps to elevates a mediocre celebration.

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 a decent read for Firefly fans, especially those with a soft spot for Jayne, but it has little else to offer.

River Run doesn't live up to its full potential. Still, for a story that probably never needed telling, it proves a much more enjoyable read than most such interstitial franchise tie-ins.

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.

It's a newcomer-friendly issue as it goes out of its way to present a full crew roll call over multiple pages. While the sci-fi elements may be toned down, the story still operates on a larger-than-usual scale, involving a political assassination that could affect the whole galaxy.

It's a fine enough continuation of Firefly's comic book adventures, but unlikely to draw or keep the attention of curious newcomers.

There's a rocket-powered stagecoach in this issue of Firefly: The Fall Guys, and I feel like that's somehow symbolic of how far the Boom Studios take on the series in comics has fallen.

Firefly: The Fall Guys #4 feels like it is retreading old ground as the Serenity crew and the Archambeau Gang continue this endless process of trying to frame and/or kill each other.

By the end, the issue feels like its run a lap on a narrative tread that's wearing increasingly thin, without anything memorable to show for the effort.

Ultimately, Firefly: The Fall Guys is another failed attempt to get the Serenity crew's comic book adventures back on track.

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.

With introductions out of the way, it's easy to get swept up in the atmosphere and dramatics of the story even if the specifics may be unclear to newcomers.

Larry Hama proved that gets how to use "silence" effectively in comics long ago, with the release of "Silent Interlude," his memorable silent story published in GI Joe: A Real American Hero #21. GI Joe: A Real American Hero #302 isn't entirely silent, but there are pages where Hama steps back and lets Chris Mooneyham and Francesco Segala's beautifully dramatic visuals breathe, and the issue is better for it.

There are spots in the issue where the exposition is cumbersome, but it's hard to argue with this level of smart visual storytelling.

Long-time Joe readers don't need me to tell them this, but I encourage newcomers to let themselves get lost in that sense of well-established wonder.

G.I. Joe: A Real American Hero bears many of the hallmarks of Larry Hama's long and beloved run on the comic: unlikely odds, ninja action, and military tech jargon.

G.O.D.S. #1 meets and subverts expectations, leaning into some familiar Hickman tropes while shining the narrative spotlight in unexpected places.

Jonathan Hickman's commitment to treating the new additions he's introduced into the Marvel Universe in G.O.D.S. as if they've always been there is commendable and effective.

G.O.D.S. is still laying out the full enormity of its mysteries, but it's doing so in a way that will ensure readers are too hooked to do anything but see all the way through.

G.O.D.S. remains a beautifully crafted and compelling read.

G.O.D.S. #5 is the most streamlined, quickest read issue of Jonathan Hickman, Valerio Schti, and Marvel Gracia's high-concept Marvel Comics series thus far.

Reading G.O.D.S. feels a bit like watching the creators pull a sleight-of-hand trick. Many of the flourishes associated with Jonathan Hickman's writing style are a presenta sense of gravitas and mystery, systems within systemsyet, underneath that veneer, the series hasn't revealed much conflict or plot to latch onto and remains content to slowly build out its new take on Marvel's cosmic power balance as an exercise in pure worldbuilding.

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.

While Gone #1's visuals are as strong as anyone familiar with Jock's work would expect, its vagaries fail to build a setting readers can believe in, leaving much of the issue's narrative scaffolding feeling like half-formed thoughts in Jock's mind.

Jock's artwork is as stellar as ever, walking that line between gritty realism and impressionistic flair, but while focusing on Abi and her father may be beneficial, it still feels like much of Gone's narrative picture is unpainted.

The issue wobbles a bit but doesn't fall down, keeping this stellar series on the right track.

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.

Altogether, it's a fine tribute to Marvel's most misanthropic fowl.

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.

This might as well be the next issue of Immortal X-Men. Which is still good, mind you. It simply feels less like an event.

As a Star Trek and X-Men fan, this issue has me squarely in its crosshairs, but regardless, it's compelling and well-crafted stuff.

Immoral X-Men leaves its Star Trek homage behind to go grimdark with X-Men by way of Warhammer 40,000.

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.

Despite the return of Thor's classic Jack Kirby-designed costume, fans of Ewing's Marvel work know better than to expect a retrograde "back to basics" approach. Instead, this opening chapter offers something more foundational, elemental, and compelling.

No detail has gone unexamined, and it all works together beautifully.

While it fits nicely into the overarching Immortal Thor story, Immortal Thor #3 also serves as a self-contained story done in the style of a Norse fable and it all works perfectly.

If there's an award to be given out for the best first page of a comic book in the year 2023 then I'd like to nominate the opening splash of Immortal Thor #4.

With its first arc in the books, Immortal Thor is absolute must-read material.

The issue's abrupt end is its weak point and feels haphazardly attached, but the rest of the issue moves at a deliberate pace as Loki recounts the tale of Thor's first meeting with the Utgard gods.

It's an entertaining read but feels primarily invested in laying groundwork and seeding themes that will pay off later in the series' run.

The Immortal Thor is now verging on becoming fully metatextual, a rumination on the compromises made to turn a god of myth into a marketable superhero and the responsibilities that such an icon has accrued since comics have gone from being the disposable entertainment of certain relatively small subcultures to a dominant global entertainment force.

Gillen, Werneck, and Curiel have successfully managed to find an inventive, exciting, and surprising new angle on what's already the freshest take on the X-Men in decades, and this finely crafted debut issue will quickly have readers hooked.

Kieron Gillen is playing all of the hits in these opening issues of Immortal X-Men, but he's playing them well.

While the layouts do an admirable job of giving the story the gravity appropriate to the writing of a new mutant testament, it's a shame that the visages alternate between lifelessness and overly-exaggerated, and the colors fall somewhat flat. These shortcomings may fail to elevate the issue to greatness, but neither do they too-greatly impede an otherwise enthralling read.

Kieron Gillen has proven time and again that he's able to find great nuance and depth in almost any character. He's put that talent on display with each issue of Immortal X-Men thus far and Immortal X-Men #4, focusing on Emma Frost, is no exception.

The issue is probably the most interesting character work Exodus has received in his 30-year history, but this issue needed a stronger emotional underpinning for the ecclesiological thought experiment to land with a stronger impact.

The visuals are as they have been, perhaps too realistically rendered and a bit flat but otherwise serviceable, which is also how I'd describe the issue holistically.

Immortal X-Men #7 succinctly shows Kurt's roguishness and devoutness come from the same place, which may make this issue the definitive Nightcrawler story.