I feel good about TOMB RAIDER: SURVIVOR'S CRUSADE #1. Although the art may be off-putting, it does grow on you, and there are some excellent panels. Where the story shines, however, is it's characterization. By intertwining two tonally antagonistic plots, we get a full characterization of Lara's tenderness and brutality. If you like what Dark Horse has done with the rebooted Lara Croft, I hope you'll give this series a try.

A passable introduction to an awesome premise that could have pushed its protagonist just a little more.

A slower paced plot lets the audience get more attached to the characters. Too bad the zombie apocalypse has something to say about that.

This was a fun issue that makes me look forward to the rest of the series. The writing was consistent with the tone of the story, and so was the art.

VENGEANCE, NEVADA #1 has a lot going for it " great art and even better characters. Yet despite this, the plot can be a bit confusing, as it's hard to tell how each scene is connected to any of the others. Nevertheless, it's a solid start for the team of B. J. Mendelson and Piotr Czaplarski. Good things will come from this series.

The GRIMM FAIRY TALES 2017 HALLOWEEN SPECIAL provides a brief introduction to Mary "Mystere" Medina, and the plot puts her in her natural environment: interacting with ghosts in New Orleans, allowing readers to see her as a regular person and a superhero. The art comes from four creative teams who get what it takes to set the tone of horror. Although this may not be the best issue for demonstrating what the GRIMM FAIRY TALES offer, it is not a terrible way to enter the mood of Halloween.

LITTLE BIRD #1 is a comic full of ideas that innovates at both the character and setting level. Yet a major weakness of this first entry is ignoring the compelling story of the titular character by cross-cutting with exposition about the world. Ian Bertram's art nevertheless brings character to both the players and the locales of this world not quite like our own, and the book ends with a set-up for what will likely become a paradigm-setting comic.

All in all MONSTRESS #20 is weaker than other issues in the series, but I'm sure that's only because I'm reading it without the benefit of the six-issue arc in which it will eventually find itself.

MONSTRESS #21 is the first issue of the new arc with a focus. At the center of intrigue is Maika. Even if the issue mostly uses that time to share more information, the underlying tension that shows just how cornered Maika and Tuya are is refreshing. Sana Takeda shines again, with this issue being a great example of her visual storytelling, landscape and background work, and character designs.

MILES FROM NOWHERE #1, written by Corey Mitchel and illustrated by Chris Blackstock, has an incredible premise " one of the best I've heard in a while. Yet after my first reading, it lacked the dramatic tension I would have expected from such a strong story concept. Nevertheless, the art, characterization, and individual story arcs deliver a solid performance that makes me eager to see future installments in the series.

The art of THE BEAUTIFUL DEATH #1 carries each subsequent element of the story to masterful effect. Though we don't learn much about the characters or why the world ended, the story shows us how the characters react emotionally to their fate. Plenty of shots of the city almost swallow the characters, enough to drive home the emotions that unite the heroes: overwhelming isolation and insignificance. Yet despite this, the characters persist, and THE BEAUTIFUL DEATH #1 leaves its narrative on an optimistic note.

With a veteran team of Sonic creators at its helm, SONIC THE HEDGEHOG #1 shines. Packed with enough action to ground the series -- and enough intrigue to keep it going -- this is sure to be a good read for old and new fans alike.

In SONIC THE HEDGEHOG #2, expect everything to be the same and everything to be new. Although it's the same plot formula, there's more information about the Resistance. Although Amy Rose still loves Sonic, she's becoming a competent leader with more personality to show. Although the art still uses the same tricks to draw Sonic, the art and way of expressing that motion are different. This issue makes me even happier to be around reading the new series -- so don't miss out!

SONIC THE HEDGEHOG #3 is the most fun I've had with any recent comic (other than the others in the series). Ian Flynn wastes no time in progressing the series by having Sonic meet up with Knuckles to investigate suspicious behavior in a southern settlement. What results is best described as a "buddy cop" adventure -- full of way more humor than I expected. The perspicacious art of Jennifer Hernandez, complemented by the colors of Heather Breckel, brings believable emotion to this character-driven plot, making it my favorite issue yet in the series.

SONIC THE HEDGEHOG #4 takes the IDW Sonic series to new places. Not only do we get a new character, Tangle the Lemur, but Blaze the Cat returns as well. The action is brought to life by Evan Stanley and Matt Herms, who shift the tone of the comic from light-hearted to gritty and grim. ISSUE #4 shows just how far IDW Sonic can go in its exploration of the series " and I couldn't be happier.

All in all, SONICH THE HEDGEHOG #5 surprised me in ways I didn't see coming, showing that my favorite villain still has the means to challenge Sonic for the foreseeable future.

SONIC THE HEDGEHOG #13 is all about Dr. Eggman, in my mind. His calculated experimentation is perfectly cross-cut with a standard procedural plot for Sonic and Tails to heighten the threat and dramatic irony Ian Flynn planted into the script. Adam Bryce Thomas conveys this emotion beautifully, but unfortunately, the fighting scenes don't portray his talent as well as other issues have in the series. Nevertheless, it was a compelling tale that I'll be talking about for a while. Eggman is back!

SONIC THE HEDGEHOG #14's plot is all about Dr. Starline attempting to prove to Dr. Eggman that he's a capable colleague. Unfortunately, that plot gets lost a little bit in the somewhat perfunctory and predictable action that plays out for most of the comic. Nevertheless, the strong character moments between Eggman and Starline bring the story to a satisfying ending " at least as far as Starline's character is concerned. Tracy Yardley and Leonardo Ito deliver high-quality art perfect for the mix of action and dialogue Ian Flynn wrote into the script. This issue does have me excited about the next.

SONIC THE HEDGEHOG #15 introduces a dark shadow to a series that has been otherwise lighthearted. It's not obvious, but when you look at the plot from a more critical lens, the tale deals with topics of sacrifice and how Good and Evil sides view that. Despite the more abstract underpinnings of the issue, SONIC THE HEDGEHOG #15 still delivers the thrills and action that are a hallmark of the IDW series. Artist Jack Lawrence makes his debut and more than lives up to the standard set by the other artists in the series. This is not a comic to miss!

SONIC THE HEDGEHOG #16 frames a terrifying story within a relatively calm recap of the series up to this point.

SONIC THE HEDGEHOG #16 frames a terrifying story within a relatively calm recap of the series up to this point. That calm recap involves Tangle, fresh from her one-shot story, checking in on Sonic and Tails, who fill her in on the metal virus that's infected Sonic. The terrifying story involves Dr. Eggman and Dr. Starline at long last deploying the metal virus into the wild. Although this would generally create suspense, the tonal dissonance between the stories muddles the take-away message.

As the capstone to a series, THE MAGIC ORDER #6 accomplishes everything it needs to. By the end of the issue, order is restored and the primary series question about the fate of the Moonstone family gets answered. Yet despite a definite conclusion, I felt that Cordelia's story got the short end of the character stick " at least until I took a deeper look. Olivier Coipel and the entire art team were true to 100% form. All in all, the series was a fun read, and the conclusion did not overtly disappont.

FENCE #1 has a simple, no-frills plot that introduces the fencing rivalry between an intrepid underdog and a world-class finalist. We meet Nicholas Cox, a poor but passionate fencer, entering a regionals tournament for a chance to prove his mettle. His determination " and that of his opponents, too " is brought to life through the manga-inspired art of Johanna the Mad. In the end, C.S. Pact's story of competitive fencing (and an implied touch of romance) sets up what is sure to be a fun and emotionally compelling series.

SKYWARD #1 may not be the most action-packed comic, but don't think it's not worth a read. In this textbook model for how you begin a series, SKYWARD #1 takes us right to the beginning of when Earth lost most of its gravity " and makes it personal. We then get to see how the world adapts to the change through the eyes of 20-year-old Willa, our protagonist, whose upbeat personality runs counter to her father's crippling fear of the outside world. The artistic duo of Lee Garbett (art) and Antonio Fabela (colors) brings the "low-G" world to believable life, creating a world of wonder so different " and so similar " to our own. This is a first issue " and a series " you won't want to miss!

SKYWARD #2 seems to complete the necessary exposition of this new series by introducing the readers to the rest of the world. Not only do we begin to see the human cost of the cataclysmic G-Day (through phenomenal art) but also how others have turned a profit on the tragedy. Yet despite the intrigue brought on by new information, Willa's character continued unchanged and unchallenged by the events of the comic. Will that change in the next issue? Probably -- but on its own, SKYWARD #2 felt a little weaker than the first issue of the series.

Antoine Revoy's debut graphic novel tells a deep and intelligent tale for those willing to spend time with it. It is a faithful homage to both manga and bandes dessines without losing the power those art styles have on their stories. Although the surprises that come at the end may be a little confusing, there's no doubt that the author wanted his audience to think. This gives the story legs well beyond a first reading. Prepare yourself to think " and feel " for ANIMUS is not for the faint of heart.

RAT QUEENS #15 marks the end of both an arc and an era for the Rat Queens. As a comic itself, it reflects the typical quality of Wiebe's scripts and Gieni's art: the story has the right amount of tension for a climax, and I do think it can stand on its own. Ultimately, this story clears that narrative elements for the beginning of a new arc and a new creative team; this is what it needed to do. I can't wait to see what the next adventure for the Queens will bring, and this issue has me primed for that.

The only minor, negative thing about DIE #5 is that you can't have it without DIE #4. As the follow-up to the aforementioned comic, the plot resolves the procedural question introduced before. But what makes DIE #5 especially good is that the plot introduces the character drama we've been primed to expect. Characterization is consistent and reflective of real roleplaying game issues. Even though Stephanie Hans loses some definition in the character's faces, her art is still exceptional and works to bring the world of DIE to life. Read this comic after DIE #1-#4 " and enjoy it.

SABRINA THE TEENAGE WITCH #1 is a promising start to a reboot series -- or, put simply, I enthusiastically recommend it. Kelly Thompson managed to blend the wit and humor of Sabrina with the semi-serious drama of finding one's place in high school and dealing with the supernatural. Veronica Fish and Andy Fish blend this script with an expressive art style that is truly their own, better seen with your own eyes than described by me. All in all, I look forward to seeing where series will go.

SABRINA THE TEENAGE WITCH #2 continues the high standards set by Kelly Thompson (script) and Andy and Veronica Fish (the art team). Sabrina reacts with the pluck and wit I've come to expect of the teenaged witch in a way that feels internally consistent and believable. Veronica and Andy Fish have the powerful ability to bring Thompson's script to life through unambiguous emotions and compelling backgrounds. Although this issue doesn't add much to the other characters, Sabrina is more than capable of carrying the story on her own. The comic is intelligent, unpretentious, and fun.