All in all, the combination of Smith’s down to Earth narrative, Staples’s vibrancy in details, and of course Moore’s hyper-stylized/ultra-kinetic illustration, this new take on an old hero is one that I look forward to reading for issues to come.

Moore and Smith continue to chronicle what has been one of my favorite Marvel NOW! Titles, as well as one of my favorite titles in a long time. This book is legitimate fun, and I'm on the edge of my seat just thinking about next issues developments, as well as if/when Robbie and Hyde are gonna have a go! This is the quality that I've been expecting from Marvel for too long now, and I hope they can maintain this momentum.

In other news, Grumpy's still going HAM on his mutant pill game, and "Hyde's paramilitary circus" is recruiting, all as we see this penultimate installment in one of my favorite arcs of the year shape up to set the All-New Ghost Rider against every enemy he's faced thus far all at once " as both personas. Smith and Moore are still working magic here, and whatever happens next can only be bigger and more badass.

That being said, as much as I want to stick with this series, Moore's departure is definitely going to be noticeable, but I still think that Smith's own development of Robbie through five issues alone has established a very signature and likeable young Ghost Rider.

While I know for a fact that Moore's departure from the series has (inevitably) led to a surprising amount of drops, Smith's narrative is still going strong and Reyes remains one of my favorite inductions into the Marvel-616. Scott's art is a bold attempt to fill the void created by Moore's unique style of hyper-kinetic "Western-Manga-esque" brand of graphic detailing, but sadly falls short of bringing the same dynamic and appeal brought by Moore. In any case, I must admit that I plan on dropping this series following this issue, but that Smith is a far more capable writer than I had initially given him credit for.

I'm in no way saying this is the worst "Spidey-book" I've ever read, just that it might actually be the worst one since our heroes triumphant return. For such a classic hero, Marvel could've done a lot better and exuded a lot more effort. I'll even go as far to say as this wasn't wholly the creative teams' fault " for such an uncanny collaboration of writers, artists, and colorists, they put together a quite decent anthology picking up on some of the best traits our favorite wall-crawler has to offer; they did highlight the best traits of Spider-Man. However this fell just short of" well, I guess my own personal expectations. Once again, I see these annual editions as a chance to highlight and pay homage to a hero " where they're at, where they've been, and where they're going. And while Amazing Spider-Man Annual #01 is a rather messy attempt to do this, it's a step in the right(ish) direction. M

I will admit though, I almost cried during my read through " there's an incredible beauty to how simplistically Brown navigates us through the apexes and nadirs of one of the men who forever shaped professional wrestling, as well as who many know through The Princess Bride and several other obscure roles here and there. But it's this simplicity that makes this book so grand and captivating, as it just wants to tell a story of who the author believes was one of the best men who ever lived; even if that entails showing all the dirt and details that he might himself be conflicted over. It's a truly beautiful tale that is further empowered through minimalistic yet dynamic art and detailing, further concreting it as an ode to The Giant through its lack of color as well, which make it seem more of a relic and even swan song from an era past. I can't speak for Andre and I don't wish to offend the man or his legacy in any ways, but I'll damned if this

From the get go, this issue lets loose and refuses to hold back " not necessarily in terms of straight forward action, but in reestablishing the direction with which they plan to carry forward with John Constantine and gang, as well as setting the tone for the gravity and consequence facing John and his actions/choices. This series touches on all the best parts of Constantine be it blurred morality, fiendish scheming, and even literal getting in bed with the devil. Interestingly enough, Doyle and Tynion even unabashedly explored the character's bisexuality " a fact that I admittedly had to look up to confirm. This is already my favorite release next to Luther Strode, and I am stoked to see where this team takes the Hellblazer next. Here's hoping to no creative team shifts.

Admittedly I had little to no expectations delving into Daybreak as a collected edition, other than some random Amazon reviews I rifled through. In fact, I forgot it was even about zombies by the time I started reading, but it actually made the experience all the better. That being said: yes, it is a short read, but a worthwhile one. The story is quickly paced, to the point, yet still leaves you to dwell on certain outcomes and interactions and how they could’ve gone differently. It removes the overt air of outright “human maliciousness” that many titles seem to try to incorporate in the wake of a human apocalypse and replaces it instead with interactions that are straightforward and more realistic because of it. This story pulls no punches, and has been one of my most enjoyable reads to date.

My complaint is that I wish Weaver had more time to develop some of the characters introduced, as well as more of the new Spidey’s rogue gallery rather than just focusing upon just the select few in this tale. Regardless, Weaver does well in giving us a new Spider-Man for our interdimensional voyage, but ultimately seems to pace the narrative too quickly, which makes for a story that seems to end rather abruptly. The costume choice is also a little too conflicted for me, as it seems too much an amalgam between the traditional cloth costume interwoven with some technological components, while not wholly lending itself to either. This does little to detract from Weaver’s art, and story as a whole though, and this is a more than welcome entry in the Spider-Verse continuity.

All in all, yeah, I REALLY liked the book. I'm clearly biased, but I still think that Robbie Reyes is one of the best additions to the Marvel-616, and the Smith's tone and inclinations in writing the character very much make for a dynamic hero who's having to make hard calls and to those ends rather self-serving " it's a pretty good anti-heroic formula, which is great for a Ghost Rider. I can't wait to see how this series plays out, and have to admit that so far Marvel has been handling its Battleworld tie-ins with a more expert level of care/attention than I was expecting. If you've got the coin the spare, assuming you didn't blow your paycheck on the 60 other tie-in books, this one's quite worth a read.

In any case, this might be the best $3 (or whatever your non-American form of currency AKA "not real money" is) you spend all week. Get it while it's hot, and all that.

Templesmith's art is as disgusting, crude, and tantalizing as ever, and completely feeds into fully and beautifully fleshing out a side of Gotham that we're unfamiliar with. A sense of the supernatural and flat out weird is strongly conveyed by Templesmith's frighteningly molded visages of seemingly scattered lines, shapes, and general anatomy, as his unique brand of horror meshes perfectly with Fawkes's uncanny ability to portray dynamism and depth through simple dialogue exchanges as well as overall narrative. This is a killer team who has successfully handled their first case with the Gotham P.D.'s Supernatural Division, and I can't wait to see how the events of this issue play into the future of Corrigan and crew, if not the whole of the DC Universe.

As established with both prior issues, Fawkes has wasted no time at all in terms of background story, and regales us with Drake and Corrigan's first encounter this issue. The fact that the creative team has purposefully set aside so much time/effort to expand upon character dynamics and relationships really helps make this book stand out more for me, seeing as with each passing issue it establishes itself more and more as having a legitimate "procedural" feel to it. Except, you know, with a "Batman/Supernatural/Lovecraftian" flare to it. Gotham by Midnight is still going strong 3 issues in, which may be a bit of an over-enthused response but still sets it apart as a new IP within DC's repertoire.

This issue has a HUGE reveal regarding Ovovo (one of the odd creatures last seen a couple issues back, and honestly the only name I directly remember) and company, and even alludes to a potential connection with The Spectre; which is all I'll detail if I'm to not say too much. This is the prelude to what seems to be our first arc's climax, and the dynamism and interactions of characters here is both beautiful, and tragic. We literally get to see the "gameface" of the entire Midnight Shift (Rook included) in the wake of what very well could be the apocalypse. Or, "an apocalypse," if we're following comic logic" anyways, the book's good, something something indie 'Bat-titles', something something get it while it's hot.

With bat-missiles soaring, righteous lightning bolts flying left and right, and a battle of (literally) titanic proportions for the heart of Gotham, this is 5 issues worth of build-up done proper, and without teasing too much. Fawkes and Templesmith haven't just coordinated well to deliver and intriguing and tantalizing "bat-title," they've built an intense mythos granting an actual tangibility to the evil and corruption that seems ever present in Gotham, and have done so with fully-fleshed out cast of characters and cases to match. Heck, with all the comic IPs getting snatched up for TV/film adaptations, I wouldn't mind seeing a short form series spin out of this just for the sake of seeing how they translate the horror vibe/aesthetic.

Moving on, I always have the highest respect for artist/writers (“double threats”), and believe it adds a little more personal inflection to the work as whole in terms of characterizing it. This much is apparent, as I feel Andrew’s art and writing perfectly complement one another in terms of introducing us to a darker storyline as well as handling the subtle/casual moments of Danny’s life, in addition to the brutal/kinetic portions of his duties as Iron Fist. I can’t say I’m personally too pleased with the persona shift facing Danny Rand, but perhaps in issues to come I will understand the character better and maybe even find the Danny I’m used to.

Andrews’ artwork still remains wonderfully kinetic, but I still find it lacking in terms of conveying more typical and scenery and emotion; but I’m still a fan. I can’t say this was the strongest issue yet, but with the damage that has been dealt to K’un Lun and even the Immortal Iron Fist himself, I find it almost obligatory to stay on and see things play out.

All things considered, not a bad issue, not a great issue. Facing forward, I have to admit I’m a little excited to see how things can/will develop following this latest turn of events.

Honestly, I’m still torn on this series. On the one hand, the dynamics of the art help deliver a brutal/gruesome narrative and story that’s appealing to the eye as well as palate of those who fancy darker stories; but on the other hand this is a character who I’m very much used to being fun-loving and a bit more light hearted, despite the scale of his duties. Flickers of the former Rand do come to surface every now and then, but ultimately my heart aches for a less hate/anger driven Danny.

Andrews' inconsistency in art continues to be a major detraction from the series for me " I love how he handles dynamic scenes, fights, and gore, but when it comes to actually conveying pathos and characters having to emote? I'm honestly unable to tell whether or not some characters are joyfully or sinisterly smiling; totally kills the whole "suspension of disbelief" thing for me, and ultimately allows me to not connect with character and thereby the story as much. Then again, I've also been fairly vocal about my disdain for the series as whole from the start. Andrews' undertaking of art, writing, and color is still very much an ambitious as well as noteworthy component of the series, but it's still falling just short of me being able to convince myself this is a good Iron Fist story.

At this point I really don't know what else to say, other than that this is a good, quick read that might actually make you think on the last time you felt happy or vested in something.

In any case, Hill and Ciaramella tag team to deliver one of the most refreshing single issues I’ve read in a good bit, putting forth a story that is simple right from the get go, but still offers a good bit of cathartic release and nostalgia for those who grew up listening to the fables of old. Brevity is often time unappreciated these days, but in its shortness Kodiak imparts a lasting taste more bitter than sweet upon its readers.

This is a limited run, and I for one love Kindt’s depiction of Spider-Man’s thought process as he engages his enemies – it’s not too quippy nor corny, and helps to convey the present sense of danger and stress Spidey’s undergoing. Rudy’s art is also insanely mesmerizing and can admittedly be frantic at times, but all the more helps to emphasize not only the levels of stress/danger, but also the more underlying psychological aspects threatening Spidey as well. My hearts beating just writing the review, and I clearly plan on following this run through to the end – for better or worse.

This series steadily gaining steam, even two issues in, and despite the episodic nature of the first two issues already foreshadows to the potential of a larger overarching plot to come. This is truly great stuff y’all, don’t miss out.

The duo that is Warren and Shalvey pull off another magnificent issue, lending to brilliant story telling that is just as much textually stimulating (it’s a word) as it is visually. If you were looking for a fight or otherwise bareknuckle brawl, you won’t much find it in this issue; but all things considered, that ain’t too bad, as this issue takes a step back from the nitty gritty street vigilantism to focus on the more psychological aspects of who and what Moon Knight is, in his new role as the protector of “those who travel at night.” This series is still going strong, and I don’t see that ending anytime soon.

At its core,it's apretty damn straightforward story to boot: get in, get the girl, get out. Our hero infiltrates an apartment complex to rescue a kidnapped girl, and does so in a manner that puts most modern action heroes to shame. I have utterly no issues with this chapter, other than by the end I was left wanting more, or at least wanting to see more fight scenes.

I still continue to be both impressed as well as surprised with each turn of the page, and Shalvey and Ellis have delivered a true beat of a comic in their first arc. I count on far too many comics to carry me through either through the artist or writer being phenomenal enough to account for the shortcomings of the other, yet Ellis's grit and Shalvey's deceptive levels of detail are a match made in heaven, as we have seen across not only one of the best arcs I've ever read, but 6 of the most phenomenal single issues I've had the joy of reading.Here's to hoping the momentum continues, and that this run has some longevity to it.

This issue's great stuff y'all, and I humble await this new team to proudly carry on the legacy of Marc Spector.

This issue ultimately left more doors open than closed, but that may not be too bad considering that Wood is clearly steering away from the more disjointed, episodic nature of the first arc in favor of setting up for bigger gears to be put into motion. This issue also marks a pivotal point, as elements from Ellis’s run are recalled and reevaluated in order to signal that change is coming, and I personally can’t wait.

Artwork, coloring, and narrative act in a glorious unison and bring about a HUGE shift in the plotline, as the creative team really kicks things into gear. This might just be the best Moon Knight run yet and let’s hope the momentum isn’t lost anytime soon.

Anyways, this issue is interesting in terms of further redefining the status of “just how screwed Marc Spector is today,” as well as steadily progressing things towards what could be an even more dynamic arc conclusion than issue #6. My only complaints are that while Smallwood’s art was on point as per usual, the paneling and pacing was a lot more conventional and static than has been seen in past issues. This is such a minor detail though, and does nothing to detract from yet another fantastic entry into the Moon Knight saga.

All in all, Moon Knight is still a great read and at the very least this issue doesn’t at all detract from the series. I wish it had delivered more in terms of relating to the overarching plot, but hey; if we’re this close to the end, this issue could potentially be the most significant one in the series and I just have yet to realize it. If you haven’t already, pick this up. Moon Knight still remains one of Marvel’s strongest titles.

This changing team direction Marvel has taken with Moon Knight is risky to say the least, but if the payoff is this maginificent in terms of exploring a story as multi-faceted as Marc Spector's own fractured psyche, then I'm in for the long haul.

Issue 13 is a MORE than welcome start to a new arc, and acquaints us with the new team with none of the subtlety of issues 1 or 7; we know who Moon Knight is by now, and the best way to garner our faith is to bloody him up, and get him right in the mix, and Bunn and co. deliver as all get out. The one thing still lingering with me after this issue is the end and, as always I'll try not spoil anything, if it's any indication of 'weird' this run can get, then I am shaking with anticipation for next issue.

Ultimately, this is all just personal bias and complaining, and this is another good issue in one of my favorite series in circulation. I still believe in Bunn and team to deliver another great arc, and with the nature of Moon Knight’s new role as ordained by the Moon deity himself, we could see very big changes coming about soon.

I don’t know that I can speak for the rest of the series, but if subsequent issues of Original Sin can be this driven and directed in terms of conveying an actual plot, we might actually have a decent event on our hands.

Filled with heart, incredible interior art by Stacey Lee (the cover art is VERY misleading), and bomb-ass Pokmon references, Silk #1 has made me reevaluate my stance not only on Marvel's newest "spinnerette", but also on the state of play regarding modernized tropes for female superheroes; maybe things don't need to be as in your face as Bitch Planet to create a strong narrative for a heroine male and female comic readers will want to support.

Lee's art continues to convey an almost childish (as well as cartoonish) aesthetic to Cindy's tale, continuing to drive home the point that Cindy is still something of that same child who was sealed away in a bunker, and that even in being a superhero(ine) she still has a lot to learn about the world as it is today. The sense of helplessness and confusion we get to see her in grants a sense of vulnerability through Thompson's narrative that actually makes you feel for Cindy's struggles and personal isolation " even if it is a little self-imposed, which makes it even more tangible to me. Silk still remains a serial I look forward to, and might just be one of the best things to spin out of Spidey's misadventures thus far.

Lee's art continues to astound me in how much of a draw it is to this series " it catches the eyes, captures dynamism as well as pathos, and grants an interesting level of depth to fight scenes and dialogue alike with the facial expressions and body language used. I keep saying this, but I have to reiterate: I didn't expect to like this comic, much less love it. Please pick this up.

Right off the bat, I found the art particularly interesting within this issue, seeing as even though Lee has remained consistently on art thus far in the series, the style changes oh so slightly to become more realistic; and rightfully so. While I do miss the comical and almost "Disney-esque" portrayal characters, the slight changes in style allow for different levels of facial expression and body language to be conveyed, which (with this being a relatively lighthearted story) help in conveying a sense of gravity regarding Cindy's current circumstances. Silk still remains one of my favorite pulls to look forward to, and Cindy Moon shockingly one of my favorite heroines to read.

That aside, Kalan and Failla do a pretty decent job of setting up for what could be a great Spidey/X-Men serial, and more importantly this puts Spidey in 1-degree of connection with Ice Man and Firestar, meaning that Spider-Man and his Amazing Friends could become a very real possibility, and canonical within the Marvel-616 (at this time the staff at CTG would like to state our condolences for the Spider-Man and his Amazing Friends of Earth-1983). If that's what this series amounts to, in addition to some witty banter, than that's not too bad a thing at all.

I still can't say that I'm too much a fan for the current pacing of the series as this issue's conclusion immediately segues into the next "event," but if Kalan and team can find their sweet par tin pacing, narrative, and dialogue, then this series could shape up to be a damn fine read.

So, all in all? Damn fine way to end an arc, and set the tone for the next chapter. Yeah, we're left on a cliffhanger, but at least it's definite in letting us know that there is more Spread to come.

All in all, another good issue to a great series, although not its strongest one. This is the initial issue to arc 2, however, and that means we've got plenty of room for improvement as well as impetus to build.

Slott hasn’t lost his touch with handling Spidey (or Spock, at least), and while many argue that his time is due (no comment), he at least knows his way around the character well enough to bring his characteristic ego out to the fullest, and let it shine in the wake of potential catastrophe. And let me just say this: Camuncoli’s artwork is much appreciated over Ramos’s, and helps to lend a very dynamic, yet consistent feel to character designs, as well as action sequences. This is a great starting point for what could be Marvel’s best event of 2014, and let’s hope this doesn’t act as the latest in a long line of Marvel “cash-in” events.

As a premiere issue, this tale immediately establishes elements of convolution and ambiguity, but for the better " what we're left with is the fascinating start to an adventure-mystery transcending time and space boasting potential to be an epic of unimaginable scale. Ellis and Totay have teamed up to deliver a deep and visually stunning Sci-Fi narrative rich in dialogue and character depth in what could be one of Image's most inventive titles of the year.

Tolay continues to blur the line between reality and fantasy along with time and space by refusing to confine herself to a damn panel, which in tandem with the vividness of the colors makes this comic read like one huge drug trip (it's pretty awesome). This is another knockout issue by a team making waves through time and space, and with the elements, plot devices, and characters explored, indicates that we're only seeing the tip of the iceberg.

Although more of a mystery in my eyes, if someone wanted to deem this a “horror comic” I can completely understand, but the beauty here is that the true horror of the “Trees” is much more subtle and “Lovecraftian” in nature. From even this introduction we can tell that for whatever the Trees may be on Earth for, it most likely has very little to do with us, or at least is outside of any realm of traditional logic we as humans could hope to understand (just yet). This comics has already established itself a compelling mystery as well as plot to expand on and hopefully to offer more clarity with coming issues. That is to say, I plan to pick up this (limited) run in its entirety.

Howard’s art work continues to lend strong support to Ellis’s gripping narrative and character development, as we gradually begin to gain more insight into the impact that the Trees have had upon the world at large. Here’s to hoping that we gain SOME sort of insight in coming issues, because while I’m enjoying the tone of this series, I am admittedly not known for patience.

There's honestly not too much to note about this issue, just that while it's great to see Ellis develop his characters, it's a bit tragic to not learn more about the Trees themselves. His characters remain interesting as always however, and gaining a little insight as to the social climates in two drastically different parts of the world most likely has implications that I'm not readily considering. In any case, I desperately want to find out what the damned Trees are.

Howard astounds with several fantastic full page spreads and Ellis finally gives us more of a clue as to what the Trees are; for as slow-paced as it may seem, this is a big issue.

Unfortunately, I can feel the series start to drag its heels about this issue, as it acts more for set up than anything else. Ellis continues to expand upon his character development and narrative and yada-yada, but ultimately we don't really see anything happen this issue.

All in all, it remains that character development and social elements remain the driving forces of Ellis's story, but this was a large improvement over last issue, and made good use of all that was set in place previously. Maybe next time, we'll actually see some action; who knows?

I don't know how much longer this series has, but with the way things are progressing status quos have been utterly redefined and it seems that things can only get worse from here on out; perhaps things truly have to get worse before they can get better. In any case, I wouldn't at all be surprised to see a time jump between this issue and issue #9 (due out in May, I believe), but while this issue does a lot of things great with characters that I have to admit I've formed some relative attachment to, the Trees remain just as mysterious as ever -- even if they have become little more than static with this arc's conclusion.

I'm glad that, given the tumultuous nature of the comic industry today, Trees was able to retain its creative team in its entirety post-hiatus " but this is to be expected with a creator driven publisher such as Image. Howard continues to draw a surprising amount of emotion and detail out of both environment and cast alike, and Ellis' world grows ever larger as we start to see the potential political/social ramifications of the Trees. It took me a while to get into Trees, but it's quickly become one of the most cerebral books on shelves so long as you're in for a slow burn and a long haul.