In every way, Black Bolt #6 is a beautiful comic book.

Eternity Girl #2 is already feels like a series destined for best-of-the-year lists. Visaggio, Liew, and Chuckry are so in sync that this feels less like an ordinary narrative and more of a sequential art experience, one that no comics fan should miss.

The X-Men's heist-like nullification of major inhumans at the end of the issue is a revolving door of kinetic artwork and storytelling, and really shows off the entire creative team's strengths. The mutant that Crystal and Gorgon saved turns out to be Magneto, which is the best possible choice that the story could have made. Crystal and Gorgon were the most sympathetic inhuman leaders toward the mutants, so having their trust shattered while they were only trying to help is going to have some consequences for how they see the ensuing conflict. It's this sort of "best possible choice" aspect of the story that makes what Soule and Lemire have written so effective. Every opportunity that Inhumans vs. X-Men #1 has to collapse in on itself, strong writing and breathtaking art push the issue to incredible heights and cement it as one of the strongest books of the year.

The time-displaced original five are giving Marvel their best stories of 2017, with Jean Grey #6 easily being Marvel's best comic of 2017.

The first volume of Long Lost was an impressive, and if Long Lost: Part Two #1 is any indication, the creative team of Erman and Sterle will surpass that already high benchmark.

The comic has an extremely bold ending which other stories should note. It doesn't end on a plot cliffhanger, but rather an on emotional one. Hopeless' last lines in the issue cement this an exemplary beginning to an arc.

As intense and unstoppable as its lead, this series continues to make good on the intentions it stated in issue one"because at the end of everything, Thanos wins.

With a creative team that spends nearly 30 pages flexing without a single superfluous panel or line, The Seeds #1 has everything a reader looking for something heady and thought-provoking in a comic could ever want.

Vision is the best that Marvel currently has to offer. Each book manages to catch me off guard, surprise me, and shock me in ways that are completely unique to the series. After the brief detour of Vision #7, it is clear that Vision #8 kicks off this new arc with aplomb. This is a comic that has consistently used every panel to further mood, story, and character. Vision #8 overflows with meaning. It rewards multiple readings and close dissection. While I'm a little concerned about opening this very idiosyncratic world to the rest of 616, right now King and Walta are in sync and doing consistent and stellar work.

There’s a lot to take in with Astonishing X-Men #1, both in terms of story and art. A lot of ground gets covered through the issue, but the action never feels rushed. Beyond the dialogue and narration, the artists involved deliver panel after panel of art that readers will want to linger. There’s a lot to see not only on each page but also each panel. This is a strong start from a writer who is very good at strong starts but is so effective at conveying its own significance as an interesting story that it’s hard to imagine this series losing that 'Big Comic Book Feel' as the next few issues loom on the horizon.

This is an issue built on character and strong plot progression and manages to do both without sacrificing either.

There's not much to dislike in this issue. Sure, Baltimore isn't as fleshed out for newer readers as he probably could be, but the way that the characters talk about him properly sells him as a big deal. It trusts the reader's power of inference in that way, saving room for the storytelling that it does so well and the world-building that it makes seem so effortless. For fans of the series, Mignola's previous works, or even Seven to Eternity fans, this is a must-read. For anybody else, it is honestly still worth checking out.

Apart from cosmically large and somehow claustrophobic storytelling and revolving but lush panels of art, this is a comic that manages to succeed in ambitions which would be lofty enough to crush the stories of lesser creators.

With Batman: The Murder Machine #1, this event again bears some of its strongest fruit in the issues that would otherwise seem like throwaways or inessential. And while you may not need this issue to understand the main event storyline, it's hard to not emphatically recommend it for readers who are enjoying where Dark Nights: Metal. It’s also hard to not find yourself eagerly anticipating the next tie-in given the strength of this one, which is a sentiment few comic readers often have.

Despite its status as a tie-in, it's hard not to recommend Batman: The Red Death #1 to anybody already following Metal. Its character work may be mostly inferred, but the large ideas that it touches on are grand enough that it's hard to leave the issue without thinking critically about the personalities of the DC heroes, or even of your own personality and how experiences are perhaps the only true contributing factor to a self.

While the exposition-heavy nature of this issue seems to come at an odd time in the overall series' narrative, the exploration of street-level villain Creel in such a sympathetic yet fair light makes this one of the best issues of the series so far, even before it emotionally wrecks readers in its final panels.

This arc has really been incredible both for fans who have been following the franchise's comic books and for fans of the show interested in jumping in.

Kino #1 is a strong contender for best opening in the Catalyst Prime line, and one that's a unique and visually interesting story that can appeal to readers looking for something different. The series is going to live and die by how interesting the titular character is when he wakes up, but this book does a stellar job of setting up the world that he is going to wake up in.

Cosmic Ghost Rider #2 proves that Donny Cates is an entertaining and creative force to be reckoned with, as the comic plays subtlety with ideas of determinism and environmental factors in personality.

Overall, Gogol and Cviticanin have something special on their hands, and while the epigraph might ask how one little street could swallow so many lives, the readers will be left asking the same thing.

Overall, Dead Kings #1 manages to deliver in its story and in the intrigue to the world it introduces, and it's obvious that both of those are at the forefront of the team's creative decisions.

While its scarcity of the titular character and heavy reliance on other Marvel heroes might put off a few readers, Doctor Strange #381 will undoubtedly be an issue that finds its way onto a lot of new reader's pull lists. Not only does it deliver on the intrigue of its concept of Loki as Sorcerer Supreme, it also reveals a real strength in characterization in multiple characters.

For the art and for Cates' already strong authorial voice becoming even more distinctive, it's hard not to be excited for the rest of Cates' run.

For a title that could have started as a grimdark-quipfest-appetizer for Deadpool, this looks like a very strong start to a series that has something to say.

This is a series that could find a home on any fan's shelf, and one which really should as it continues to impress arc after arc.

Harbinger Wars 2 #1 bursts from the gate with a lot of momentum, and with a distinct and interesting visual style that makes this comic stick out from the pack. What happens in this story feels like it will have repercussions, and the scaffolding for that fallout is already being established.

With a strong art team behind him, the story is given adequate space to explore its own world in a steady and subtle way. It will be interesting to see if and how the comic widens its scope and sheds more light on its own planetary conflict, but it is just as intriguing to learn more about its central character as she exists now and the history that created her.

Long Lost #4 capitalizes on the gradually increasing level of intensity to a point that seems poised to become explosive within the next two issues.

If the previous four issues of Long Lost established the creative pairing of writer Matthew Erman and artist Lisa Sterle as a tone-heavy combination, Long Lost #5 allows the former's skills at crafting dialogue while the latter puts on a showcase of how a conversation-heavy comic can still be visually interesting through slight changes to the flow of panels to be read to the character positioning and backgrounds within the panel.

If you missed the first installment this series, Marvel Knights: 20th #2 is a surprisingly good jumping-on point, and the air of mystery it keeps afloat is more than enough to hook the new and retain the faithful.

Monstress #13 is a comic that has emerged from a slumber with an even greater sense of urgency than the high point at which the previous arc concluded.

As a debut issue, Moth & Whisper #1 is a resounding success. Despite imitation being at the forefront of the narrative, the book itself makes it clear that it is not content to imitate other dystopian comics. It's a fun story with an empathetic lead, all propelled by a few layers of mystery.

Ninjak will return, as the promotional material for Killers indicates, but this issue works as a strong conclusion to the context in which readers have previously understood this character.

The Last Ronin arc of Old Man Logan is already one of the most focused and aesthetically cohesive arcs in modern comics, and is helping to solidify Jeff Lemire as the definitive Old Man Logan writer, surpassing original series creator Mark Millar.

While it would be an easy joke to call this issue the most memorable comic of the year so far, the truth is that this was unique enough and so well-executed that it likely will be one that readers remember 12 months from now.

It's well-paced and has a strong ending that shows that The Sentry is going to be a wild ride from this creative team.

Seven to Eternity continues to be one of the most consistent titles in Image's line-up and probably the most interesting setting of any fantasy comic currently on the shelves.

As a debut issue it does everything it needs to do. Readers will understand everything that Loma Shade can lose in this series, and all the ways that that loss can occur, while also establishing that this is a series that would never be content to be predictable.

What is perhaps most interesting about Sleepless #1 is how efficiently and effortlessly it establishes its world. Its mirroring of the vacant eyes of skulls with the sunken-in, sleep-deprived eyes of Cyrenic show artist Leila Del Duca using a single page to tell so much of the tone of the story and the melancholy of its second most prominent character.

Perhaps the most impressive thing about Spider-Man #12 is the way that it knows exactly what its readers want to see, teases it out, and then doesn't deliver it in this particular issue while simultaneously leaving readers completely satisfied.

With it, and in particular as Tank Girl: Gold has a strong finish to a strong series, it creates something genuinely special.

With a final page reveal that will delight Annihilation fans, this is a comic that will be equally appreciated by series fans and newcomers alike.

The comic as a whole is greater than the sum of its parts, and while those part can sometimes include a straightforward story with disorienting art, those parts also include several moments that are genuinely brilliant and create a sense of a story being told in a uniquely comic book sort of way.

It's going to be a long wait until #2 comes out, but thankfully #1 has a significant amount of rereadability. There is a sequence with a nameless police officer who Gwen describes as an "extra" that is among the funniest things I've ever read, and which made me laugh out loud on two separate read-throughs. Ultimately, Unbelievable Gwenpool is starting remarkably strong. Based on Hastings' work in the holiday special and the backups seen in Howard the Duck, it is in the best hands possible. With excellent art and strong voice, it is the best #1 I've read all year.

As the first arc passes the halfway point, things are most definitely not alright, and for fans of genuinely scary comics, that is definitely alright.

Wilson, Xermanico, and Fajardo Jr. give readers a little bit of everything in Wonder Woman #62 a comic book that is thoughtful and well-executed.

It will be interesting to see the payoff and how that will reflect revisiting Wonder Woman & Justice League Dark #1, but at the time being it kicks off October for comics with a spooky bang. Between his high stakes storytelling and the dynamic art throughout, there's a lot to love.

If you weren't excited about X-Men: Blue yet, this issue gives more than enough for readers to feast upon, and if you were excited, this issue is validating. This series is getting better and more engrossing with each issue which is no small feat considering how strong is started. While the midpoint art shift is confusing at best and frustrating at worst, there is plenty of interesting visuals to make this comic a pleasure to look at. With such strong storytelling, it's hard not to feel like it's an incredible time to be an X-Men fan.

This is a tie-in worth checking out even if you aren't following the core series.

A lesser comic book by a lesser writer would have been content to tread water in a very standard way to get from point A to point B. The third issue of an arc this size is not typically going to have the big, game-changing reveals, so King’s use of stylized storytelling instead gives readers a lot to mull over as they wait for part 4, while the art team does the same with panels that often go beyond their expectation. It may stall in places or rely on its structure more than its narrative, but at least that is indicative of a comic book trying to be unique, and when Batman #28 succeeds, it does so with aplomb. The war may be raging on, but this comic book makes every panel feel like a battle.

This has been one of the strongest arcs of Batman Beyond and this dialogue-heavy issue makes it easy to see why, just as the art team makes it easy and pleasing to pour through the panels.

There's a lot of intrigue in the parallels of both the Splitt and Falseface storylines, so it'll be interesting to see where the series goes with it, and how heavily it'll lean into those obvious connections.

Like the best that these tie-ins have had to offer, this issue delivers its horror with an equal helping of melancholy.

Beautiful Canvas #1 is messy, visceral, and cinematic in its presentation and scope. It often expects readers to latch on to subtext in a way that other comics usually don't. This might make parts of the comic seem alienating to some readers, but will further entice others. It is visually stunning, with something interesting in every panel, and with a vibrancy in terms of art and colors that rockets it above most other books currently out. It all makes for a strong debut that is satisfying in its own right and will leave many readers eager for the next issue.

Black Bolt #2's greatest strength is how different it dares to be in a story that deserves thoughtful examination of its protagonist. While the issue has its flaws, they seemed mostly in the service of getting the pieces where Ahmed wants them to be for the rest of the mini-series. The promise he made at the end of the first issue to explore themes of significant depth alongside adrenaline-filled action holds true, making this a sound book to usher in a summer of comics.

As a series, Black Bolt is consistent and engaging and this issue manages to build on the intrigue that has been piling up for the past few months. The story frequently leads to unexpected places and has possibly the best art of any comic in 2017. Even the biggest detractors of Inhuman stories would be hard-pressed to not be engrossed by this story. While it's impossible to predict where Ahmed will take the story and what Ward will draw in the next few months, if you read this book you'll definitely want to find out.

Ahmed's storytelling is effective enough that the sheer amount of hand-waving in this issue's plot doesn't send up any red flags on the first read through, and the ending satisfyingly answers the nagging questions of the morality behind ancient Inhumans creating the jail in the first place.

Once you get through the necessary exposition, you’ll find an issue that offers a lot in terms of thematic consistency and entertaining storytelling. Bunn is in his element here, and is clearly channelling what has made him such a strong writer in prior horror series. It’ll be interesting to see what he does with this particular comic sandbox. Braga’s art and Herms’ colors make each panel feel lived-in and carefully constructed, particularly in the comic’s back half. The book is heavily indebted to the two when it comes to the very obvious tone that it carries. Blossoms 666 #1 is a great issue in its own right, but with the artistic depictions and theme-heavy plot, the devil is in the details.

The horror component of Contagion, at least at this point, is a little oversold. It has this blend of camp and grit that feels like the kind of obscure VHS rentals that no doubt inspired the creative team. The opening has a sense of dread to it, but a scene that should play off as horror — three of the Fantastic Four getting infected in one fell swoop, is way too action-tinged to feel scary. Still, there is enough to love here visually, character-wise, and, for the most part, tonally for readers to find this series growing on them.

Cult Classic: Return to Whisper #1 has a lot going for it, and with the interest that this issue will easily draw readers in for the next chapter of its story, as well as the next chapter from Vault’s Cult Classic line. There isn’t any sort of shared universe for the type of fan that the line is aimed at, and Return to Whisper is an outstanding introduction to it. Rahal has a unique story and the art team of Cunha and Cunniffe have exemplary art. Despite some growing pains in the first few pages, this comic manages to work equally as the harbinger of an entirely new line of comics and as a great book in its own right, the combination of which is no small feat.

Had the comic's final panel revelation been what was expected through Linda's intuition throughout the book, the second issue would still have been an easy inclusion on any mystery fan's pull list. Having it swerve to something that is genuinely unexpected becomes a victory lap for an impressive opening. While artistically a mixed bag, it's hard to ignore how gripping the plot of Dead Inside is. It manages to tap into a sense of dread in a way that is unique to noir. You aren't afraid of what has been killing inmates. You're afraid of the world that makes it happen.

With a strong and unique story, as well as a compelling atmosphere, Christopher Priest's return to DC comics is a barnstormer.

While the flaws of Doctor Strange #382 are in certain aspects of the writing, the writing is also responsible for bringing the comic to the highs that it reaches. There's hope that the future of this series will see the comic either settle into one protagonist or link the two into the same narratives, and what this comic does right far outshine those criticisms. It's a comic that flows with sincerity and personality, and shows both Cates as a writer, Walta as an artist, and Bellaire as a colorist doing some of their best, most emotionally powerful work.

Where Johns exceeds Moore is in how much of a page-turner this issue is. Watchmen rewards slow and close readers of each panel, but never reaches a point where readers find themselves quickly devouring its issues. Doomsday Clock #1 is filled with dialogue and narration, but Johns’ skill in crafting a spectacle is second to none in the modern age of comics. This isn’t a mystery story and it isn’t perfect, but as the third act of an epic that began with Rebirth and continued in The Button, it’s hard not to get chills at the onset of this blockbuster comic.

It's a strong comic that does so well with so much that it's easy to overlook its few shortcomings.

People obviously read comics for all kinds of reasons. This is not a sticky, lore heavy affair, nor does it pretend it's use of Gustav Decobra or Derek Powers is anything but fun and playful. Character is more important than plot throughout this annual - if you look at the plot too closely, things fall apart pretty quickly. The mechanics of the time travel aside, the mysterious illness is a bit of a plot contrivance. The character work here is what is remarkable, and justifies any plot element the comic might use. Jokes, decisions and even speculation are all rooted in who these characters are. Referential at every turn, and filled with character-driven humor, Gotham Academy Annual #1 offers a lot for DC diehards, but will prove enjoyable for even the most unfamiliar of readers.

It may not hit everything out of the park, but it manages to be a book that is, above all, interesting, and one that promises even more interesting things to come.

The line of Hunt For Wolverine comic books might seem bloated, but if they all end up like this it might just be worth it.

Infinity Countdown #2 is, above all else, a fun comic book that successfully ties some of its disparate plot threads together while letting some run further than expected.

This is essential reading for those who are not only interested in the upcoming event but also readers who were left reeling from last week's Death of X #4. While the plot is structurally flawed, its character-driven roots are not only commendable but necessary given the insane straddling of two arcs that this issue needs to accomplish. The natural progression of every character into where they need to be for the rest of the series makes the rest of the event much more interesting than it seemed when it was announced.

If good jazz is defined by knowing the rules of music so that you can break them, this book's Morrison-esque "throw as many ideas at the wall as we can" ethos feels like it does the same with narrative rules.

If the previous issue was a perfect time for new readers to jump into the series, Justice League Dark #21 gives readers plenty to mull over and appreciate. While the flaws in story and art consistency are there, overall the comic delivers far more positives than negatives, and above all succeeds in feeling unique among Big Two books. Between the intrigue-filled storytelling and the moody artwork, this is an arc you're going to want to jump into.

This is a comic that knows what it is and wants to have fun with it. The writing fluctuates between notably interesting and frustratingly on-the-nose but is overall an inventive and fresh direction for Man-Thing. The art captures everything in the broad tonal range necessary to tell this story effectively and is a visual treat. Despite a few faults, it's undeniably entertaining. Even the backup story manages to seize interest as it reminds readers of a universally acknowledged truth: overly ambitious pianists are just the worst.

The issue concludes with the reveal that he has taken the Spider-Tsum, perfectly weaving the two central conflicts of the series together.

Mary Shelley: Monster Hunter #1 is a fun gothic romp, and with the brunt work of its exposition out of the way, it'll be interesting to see where it progresses.

The creative team of Houser, Templeton, and Smith deliver, and Mother Panic/Batman Special #1 keeps the "Milk Wars" ball rolling.

Old Man Logan is ultimately a nexus of several different genres that would initially seem incompatible. It is in equal parts a post-apocalyptic story, western, and samurai story. Even though Logan isn't in his world anymore, the part of this world in which he finds himself is essentially the wastelands. The way that this world operates against him and the way violence is so intrinsically apart of it feels right out of a Sergio Leone samurai-inspired spaghetti western. Wolverine himself is a post-modern samurai, with one of the beautiful opening panels paralleling Logan with a ronin, and with the next issue having an explicitly samurai-themed title. Besides, Wolverine as a character has always been tied to Japan. At the nexus of all of these disparate elements, Old Man Logan thrives, and after getting past a few issues of mindless action it's pretty clear why.

It's a comic which packs a surprising punch in terms of deeper content to suss out and unpack.

The Dorian Grey-esque aging of Wanda as she uses more magic remains the most brilliant decision of the series so far, as it both increases tension and adds to the story's theme. The Scarlet Witch will die one day. It is inevitable, and the more she uses her powers to try to help the supernatural noir world around her, the closer that end comes. She is acutely aware of this, to the point that she recognizes omens around her. It is rare to find something that gives a sense of both unpredictability and inevitability, but as Scarlet Witch carves out more of its story, it is abundantly clear that everything is going exactly as planned.

Self/Made #1 is difficult to critique. It's greatest quality is, by far, its promise of what is to come.

It is a series that likely performs better in trades than in individual issues, which is a shame because this sprawling story has an unrelenting pace and is frequently a top book of the weeks that it comes out.

While Jack Boniface himself takes a literal and metaphysical backseat throughout the issue, new and existing fans will likely find his history compelling.

Despite a lack of intimacy with its central character, this debut issue shows promise for a series that emphasis just how much a commitment to tone lends to a story.

It took a while for Spider-Women to find a narrative footing, but it picked up by the end of last month. With the new month of stories upon us, the story is breaking out into a sprint. Everything is set up for an exciting conflict and internal character struggles to explode into one another. It's going to be very exciting to see where this goes throughout May.

Not much is really revealed in terms of what to expect for the event itself, but with the mysterious tone throughout this comic and the choice to place such an emphasis on the investigative journalism of Clark and Lois, there's some early signs that the event will be unique.

Chondra Echert's writing is the real star of the issue, with remarkably clever transitions between story threads and a recurring motif of divinity through dialogue, as well as the aforementioned strong characterization.

Mighty Thor: At the Gates of Valhalla #1's strengths outweigh its weaknesses. It feels at times like some panels could have been cut in the scripting phase, but when Aaron gets to the parts of the story he is clearly building towards, everything clicks.

Unbelievable Gwenpool exists because of how comic book fans responded so positively to her use as a joke on a cover and in the periphery of our comic experience. Beyond the character, the entire concept of Unbelievable Gwenpool creates this sense of happiness by being both a product of the fan community and a product for the fan community.

With the first half serving as a more character-heavy introduction to the protagonist and the second story showing her in the context of the larger 616, Aero #1 shows delightful promise as a debut issue.

In Amazing Spider-Man #21, there is again a focus on exposition, but strong character moments with the likable Scarlet Spider and Spider-Gwen establish this book as a solid addition to the event.

The comic gives enough to hook readers, but it feels a little rushed to get the plot into place.

This tie-in might be the grimmest of the Dark Knight origins so far, but it will definitely satisfy readers of the series, or even readers just invested in Hal Jordan/Bruce Wayne debates.

The strength of the comic book's final moments helps melt away memories of the issue's unevenness and occasional misstep.

The opening and occasional artistic hiccup aside, this is a good X-Men book that feels like it's building toward something meaningful.

You will know the second you pick up Creepy Comics #23 if it's for you. Horror anthologies like this are really welcoming to new readers, but also manage to surprise longtime fan expectations. With some solid talent in terms of both plot and artwork, the comic is a world of morbid fun. The meat of the issue is stellar, it just happens to be sandwiched between some weaker additions.

Cryptocracy #1 is flawed, but also wildly entertaining. There is an obvious urge to get the plot into a certain narrative place in order for not only the next issue, but also the entire series to take off. While that is sloppy, the places that the plot hints at going, especially with the letter that is included at the end alluding to the Tunguska event, are unique. It's clear that Jensen has a lot of really interesting ideas, and Woods' art matches him in terms of developing and maintaining something original. The series has a lot of potential, and with most of the exposition out of the way, I'm looking forward to learning more about the characters that Jensen has written.

For every element in the opening of the comic book that holds it back, Dark Nights: Metal #4 closes with something grand enough and unexpected enough to pull readers back in.

There’s not much you can do to mitigate the fact that Disaster Inc. #1 is a scaffolding issue. Character introductions and supernatural-tinged cold open notwithstanding, it’s clear that this book is a vehicle to get to the next installment, and so it doesn’t really explore the greater story it's telling more than small nods. While this can be frustrating at times, it's far from a problem unique to this book. Disaster Inc. #1 has all of the tools to be a special comic — Joe Harris delivers an interesting premise, some solid intrigue, and a mostly colorful cast of characters, all of which is drawn and colored beautifully by Sebastian Piriz. There’s a good chance parts of this book will hook you, but a lot of the lasting interest is going to depend on the next issue.

There is a little trepidation to be found in Waid's direction for Doctor Strange. Strange represents something unique in the Marvel canon, and with Infinity Countdown looming large over the summer, longtime fans will likely not want the Sorcerer Supreme fully immersed in the cosmic. Still, this is a very promising start, with highlights in storytelling and art that overshadow the occasional misstep.

Overall, it's a solid comic that lays a lot of groundwork for the rest of its arc.

Ultimately, Hawkman: Found #1 isn't essential reading, and that's a shame. Lemire is capable of delivering interesting and fun stories, and while this book is both of those, it's hindered somewhat by the constraints of being one of the least important Metal tie-ins from the perspective of the overall event narrative.

While writing this, I found it difficult to use the name Hyperion and not Marc. This intense focus on characterizing the person and not the hero is a strength that I hope carries through the series. The dynamic of Marc and Doll is such that if this issue had none of the action sequences it has, I would still recommend it based on the moments they share in the truck alone. It suffers a little from a common first-issue ailment of forcing the premise it wants without much set-up, but ultimately that can be overlooked for the strong material that is present.

This feels like the weak issue of a good arc, and with how many storyline elements Snyder has at play at once, there's an incredible number of directions that the story can go from this early point. That, combined with how good the stronger moments of this issue are, make Justice League #2 a fun, if sometimes frustrating read.

Overall, it's a book with a lot of potential, and that clearly has a story it plans on telling. It'll just take a month to see what that story is.

The comic might be a little nebulous at times, but the confidence with which it is told and the interesting setting will likely draw readers into grabbing the next issue.

The Unworthy Thor #4Written by Jason AaronArt by Olivier Coilel, Kim Jacinto, Frazer Irving, Esad Ribic, Russell Dauterman, Matthew Wilson and Matt MillaLettering by Deron BennettPublished by Joe SabinoReview by Joey Edsall‘Rama Rating: 7 out of 10

Overall, There's Nothing There #1 is a strong opening act of a confident story. While some of the characters don't feel completely fleshed out as of yet and there seems to be a holding back of social commentary, the queasy and pervasive dread throughout the issue and the stellar art make this a comic worth checking out. With three issues on the horizon, the comic does a good job of setting up its primary pieces. The mysteries at the heart of the issue will ultimately be what draws and keeps readers, and while that will be made or broken in the following issues, the artistry and skill with which everything is established makes this a genuinely exciting comic experience.

With Hickman's upcoming run looming large over the House of X, it's nice to find something, namely a thoroughly punished Scott Summers, to spend time with as a reader.

At 46 pages, Weird Detective offers a lot for you to sink your tentacles into. Despite some occasional hiccups in tone, it offers a really solid story, moody atmosphere, and unique lead character. The pacing of the major plot is laid out well, with Van Lente scattering just enough breadcrumbs for readers to tell that all of the strange things happening in the pages are connected somehow. Vilanova's artwork is often stellar, and is in top form during some late-issue splash pages showing us multiple elder gods. This is preceded by the brilliant juxtaposition of Sebastian's narration boxes with Sana's notepad narration. The narrative and art work together to progressively raise the stakes as the world of the story expands rapidly outward. The last third of the issue is by far the strongest, and if that momentum keeps going, this series can really be something special. With a strong start, it is definitely weird.

It's a very post-Jessica Jones comic, but the juxtaposition of the trauma-centric themes with the urban fantasy setting make this a comic with a lot of potential.

This is a difficult issue to use as a jumping-on point as it isn't very forgiving on readers without context, but if you have been following, you'll likely enjoy what's here while you wait for time to be up on The Witching Hour.

With Secret Empire in the rear view, X-Men Blue #10 sows the seeds for a multitude of potential arcs, certainly enough to give writer Cullen Bunn ample room to explore the characters he has been exploring so well throughout this series while changing their circumstances enough to keep anything from feeling stale.

Dan Slott and Christos Gage's "Power Play" arc has been a mixed bag, and in its final moments the cracks really begin to show. This comic has some genuinely great moments, but paints by the numbers to get there.

If you've been reading the past five issues, you're going to enjoy this, even if the ending feels like a rushed copout. Amidst the low-points of this series, the one consistent positive has been that it was successful in being entertaining. Being the product of two '90s characters that fans at the time probably never envisioned meeting, that's really the best a reader could hope for. Crossovers like this are never going to be game-changers, but at least it's fun. This series is ultimately for the die-hard fans. It will be fun for them, but casual readers won't get much from it.

Therein lies the problem with Civil War II: The Accused - there is just so much that it could be saying and exploring, from high-profile celebrity trials to the application of lethal force, but it instead plays its story safe and steers clear of the controversial and divisive.

It feels like something giving readers some sort of context is missing, and unfortunately the book ends weaker than it starts.

Without having said much, the comic gives a lot to talk about, but the comic also doesn't seem particularly interested in making statements. It just wants to get Hobie to a portal.

The first story seems as though it will have consequences on the upcoming X-Men arc, and the way it teases it out is exciting. It would have benefitted from more thought into why the plot moved from one panel to the next, instead of just doing what had to be done to get everyone where they needed to be. While the second story will likely have no follow-up, it is absolutely dripping with charm and refuses to waste any space, narratively and artistically. Extraordinary X-Men Annual #1 is designed to be a jumping-on point for a new arc, but it's really only going to appeal to X-Men faithful.

Despite some dragging issues and the occasionally oddly drawn face, this comic ends with the promise of an impressive confrontation in the next issue. It might make the arc stronger overall, but it hurts the issue.

Overall, it works as a good, if not completely compelling starting point. Moritat's artwork is solid throughout, with faces being particularly strong. It's not a bad comic, but it doesn't give much indication of where the series as a whole is going to go.

While the sense of fun that has propelled Infinity Countdown forward is still present in Infinity Countdown #3, the latest issue of the pre-event loses a lot of the consistency and balance in its multifaceted storytelling.

#2 isn't necessarily bad, but it doesn't have the intricate plotting and stellar pacing that made the first issue so enjoyable.

The comic ends with Man-Thing opening the door to the Nexus of All Realities, which gives the narrative so much room for interesting turns, and hopefully less invasive quips.

The unfortunate effect of all the Moore homage frontloaded in this book is that Peter Cannon: Thunderbolt #1 reads like a issue where the writer is upset with how Doomsday Clock has been as a Watchmen sequel and decides to try it for themselves. It's a shame because that leads to the concept being fatiguing as soon as readers figure out what is going on. It concludes uniquely enough, and in a very this-changes-everything Gillen fashion, so here's to hoping following issues elevate the series to being unique enough to warrant the talent behind the book.

The amount of lore that The Mighty Zodiac #1 has to wade through leaves very little room for character development, which is the biggest flaw with the story. Things are more fantastical in this world than most readers might be familiar with, and while Howell's art might do the lion's share of world building, Torres still needs to deliver the basic framework that this world is built on.

There's a lot of suspense and a lot of promise of interesting things to come. It just would have been nice if the comic didn't hold its cards so close to its chest.

Overall, World War X #3 keeps the ball moving and manages to keep the interest in the overall mystery at a relatively high level. This issue might not have been as strong as the previous issues, but it is filled with a sense of something big on the horizon.

As a purely aesthetic experience, artist Danni Miki and colorist Tomeu Morey create a visual spectacle balances a level of chaos with an attention to detail that never lets the panels lose a sense of space, making it more artistically cohesive work than a narratively cohesive comic.

For its faults, there is still a strong creative team behind DCeased, and the technology angle to the zombie story is interesting, so hopefully that's the route the rest of the series pursues. The subgenre is tired, so this story is in desperate need of something else for readers to latch onto. There needs to be something really special to make a series like this work, and so far this debut issue struggles to deliver on that front.

As a series that focuses on the lives of lesser known mutants, Generation X is the perfect base for experimentation and unique storytelling. The fact that it plays so safe and doesn't seem to trust its own characters makes this debut issue a disappointment. It's a comic that desperately wants to have heart, but doesn't do enough to prove it isn't vacuous. Maybe the second issue will be more dedicated to its team once the throwaway cliffhanger is dealt with, as it does have the pieces of a strong story, but that isn't a good sentiment to end the first issue on.

Overall, this first issue feels like a swing and a miss, albeit an inoffensive one. It just really needs to course correct with #2.

IvX started out as something really special, but the finale doesn't quite stick the landing.

Taking off with an inconsistent start, Multiple Man #1 is a frustrating comic that suffers from an identity crisis.

Spider-Man #6 is a good tie-in, but a bad Spider-Man book, and that's hard to get past.

Uncanny X-Men #10 is a comic that prioritizes the sense of a climactic final battle at the cost of making those sequences engaging.

Has Medusa mentioned that she's dying in Royals #2? The number of times that some variation of that exposition is dropped throughout the course of the issue takes what should be one of the most important plot developments for the Inhumans of the past decade and robs it of emotional resonance.

Web Warriors has, at its core, the raw materials to weave truly interesting and inspired stories, it just quite hasn't figured out exactly what it wants to do or how it wants to do it.

It's sneaky with it's big moments and though it has a clear intent of emotional impact, the attempts it makes are too artificial and convenient. It feels more like a comic book for readers to collect and read out of a sense of completionism than anything inherent to the book itself.

Ultimately it's that lack of clarity that is hurting this issue most. Few mediums lend themselves to surrealism like comic books do. Breaking away from realism can be a real strength in this context, and it is abundantly clear that Rich Tommaso knows this and wants to capitalize on it. In the process, the comic never has a firm foot to stand on. There are so many things that it wants to do that it has a really hard time telling a story. Some people might find more here. What one person finds borderline incomprehensible can be rich in meaning to another. That being said, flashy art and playing loose with reality isn't enough if there's nothing tying it down. A comic can't get by as a series of quirky horrors.

The issue isn't bad in the sense that it's offensive, it just doesn't have much to it. Most of this can be attributed to the onslaught of informative lectures from two thirds of the book's main cast. The information itself isn't the problem, as that could be integrated into a issue given the proper execution, but it's just so absent of any emotional connection. Readers will likely be skipping over lines because they realize the lines don't matter and won't provide anything that a quick Google wouldn't provide. There just isn't much to hold onto and readers are given no reason to care.