In their present resurrection, they're again betrayed by Adele, who tipped off Lennox, and forced into a gunfight that costs them one of their own. But Quinn is awake now and prepared to help the team with their mission: to break into Lennox's real tomb somewhere in Norway and reclaim their souls. With impossible odds stacked against them, the Resurrectionists are going to have their work cut out for them.

With the help of Paul Revere and Ben Franklin, who catch up to the rest of the gang, they make short work of Hammond and his lackey before escaping the crumbling cave. Once free, they realize their powers are a gift and call themselves The Order of the Forge after the Viking ship they just destroyed. And then" the end. There are hints that Hammond survived, so another series is not out of the question, but please just. No. A lot of interesting opportunities were squandered in this series and if, for some reason, someone decides to greenlight a second series, I really hope they make more interesting use of the supernatural.

It's certainly enjoyable for fans, recognizing the parallels to its predecessor was a treat (fires anyone?), and I'll be eagerly awaiting the next issue to see if there's a payoff to middle-aged mediocrity and megalomaniacal alter-egos in this sequel, but after reading the first issue, I'll be tempering my expectations of the rest of the series.

Thankfully, the FBI agents have already been indoctrinated into the world of Tyler Durden with their acid kisses, affording Marla and Sebastian the opportunity to figure out just what's going on. She admits to tampering with his meds to see Tyler and he realizes that he was the one to kidnap their son, having burned another body in his place. There's blatant fan-pandering with the line, "I want you to hit me as hard as you can" and numerous parallels to the original Fight Club, I'm still waiting to see if this is a re-hash of the previous installment (the line, Paper Street, the Space Monkeys hanging out on the porch) or if something new comes of it.

She uses her connections with her latest support group to get all of the kids Make-A-Wish-esque trips to the heart of Tyler's schemes. If you weren't drinking the kool-aid before, this is the make or break it moment " and for me, it's broken. Cameron Stewart continues to make the art dynamic and interesting and we get to meet an old friend in the messiest of pages, but if Palahniuk can pull it together in the end, I'll be shocked. Perhaps wait for the trade to get a look at the overarching themes, but issue to issue it really hasn't been an enjoyable experience to me. I'd love to hear anyone else's thoughts on the matter.

Beyond that, it's almost more of the same " Sebastian and Tyler are at odds with each other, with Sebastian medicating himself into oblivion. What was a neat parlor trick of fourth wall breaks with the pills has become tired and cheap even as Stewart's cartoonish style continues to serve its purpose. Like my complaints about previous issues, there's very little forward momentum as we hit the halfway point of the series and worse, it's becoming formulaic. Resting on nostalgia is only going to take this sequel so far and at this point it's just dragging a beaten space monkey behind it"

That's it. That's all you need to know about this issue. Marla's not dead, Sebastian couldn't mimic Tyler if his life depended on it, there's that network of dying support group participants, the aforementioned shrink. Do you care? Does anyone care what happens at the end of this? Even lowering my expectations significantly, I'm still rolling my eyes through every issue of Fight Club 2. At this point, I'm not even sure reading all the issues together would save this pompous sequel"

Yes, it sucks. I want to personally apologize to anyone who grew up after reading Fight Club and urge you not to read the letters at the end of each issue. It's just asking for a cringe.

The bottom line is that Cameron Stewart's art continues to be the only bright spot in this mess. This issue also has a gorgeous two page spread from David Mack, a writer and artist who frequently contributes covers to the series, that breaks things up and reminds me why I keep getting pulled into this trainwreck. Maybe try it in trade format, but these month-to-month issues are an exercise in self-torture. I hate the series and I'm going to hate-read the entire thing. Ugh.

If nothing else, listening to Say Anything circa 2008 while writing this review showed me that Bemis really put his stamp on the writing. Let us know what you thought of Oh, Killstrike in the comments (or tell us what terrible pop punk bands you listened to back in the day)!

As a four issue mini-series, I have no problem with how quickly the plot is progressing. The art fits the tone of the comic well. It's the blatant speaking to the audience that has me rolling my eyes hard " you can lead a horse to water, but please don't drown it in the stream of over-information. The dialogue of Oh, Killstrike continues to be less of a wink-wink-nudge-nudge and more a sledgehammer to the frontal lobe.

Overall, if you judge the issue by what it is and not what was promised in the solicitation, it's a fun outing that falters with its female protagonist in the last few pages " or it's a cheap cliffhanger that will only serve to make me roll my eyes when issue #2 comes out. The series has set itself up to be something more cinematic in nature and will probably read better in a trade format. I'll be back next issue to see what happens regardless.

Lecherous old men preying on women and slightly racist jokes make up the rest of the narrative, but the artwork continues to be passable.  Frank Cho working double duty on the writing and artwork is doing himself no favors, as the most enjoyment I've gotten out of this series so far is knowing it's only on a five issue limited run.

The first issue introduces Trine Hampstead, a sidewalk detective with the answers – literally all of the answers, excepting the ones about her own past andwhyexactly she knows everything. It's an interesting conceptthough Tobin's writing shines in the mundane moments, where Trine embraces change or talks to her maybe-maybe-not-so-supportive boyfriend.

It's the fast-paced travel from London to Russia that is a bit jarring in this issue " and without the scientist who originally wanted this trip anywhere in sight " with Trine making her way up to the remote location all by herself. But overall, I'm interested to see where this series goes next, if only for more gems like, "wiener-hazardous cold" that had me cracking up.

Reading this issue and how we left Trine, I really don't feel a lot of peril on her part. Isn't the conundrum they find themselves in another mystery? How are they going to survive? Doesn't that mean that Trine already knows the answer and can bring them to safety? Along with other hinted powers throughout the series, I can only guess that she'll tame the wolves and they'll bring her to safety, where she can stop the bad guy and save her friends. I'll be interested to see where this series ends up.

And when the dust settled, Trine didn't even seem ruffled by her experiences. She returned to status quo, along with readers whose time might have been spent better elsewhere. Sadly, the happenstance of a woman knowing the only answer Trine doesn't might not even be enough to draw me into the next series/arc, but only time will tell if Dark Horse continues this series.

As a four part series, at least readers are bound to start getting answers sooner rather than later. The intriguing concept (immigration into America apparently appeals to me much more than immigration out of America, as I tried out BOOM!'s Americatown and could hardly finish the first issue) is enough to overlook the series' flaws for now. I'll be interested in seeing where issue #2 takes readers and how much of the larger world we get to explore while still following the dynamics of Jack and Julian's brotherly bond.

With the easy comparison to Children of Men, this series raises some interesting questions while boiling the sci-fi elemends down to the smallest cogs in the machine.

The artwork continues to lend itself to the dystopian setting, giving off a quietly foreboding vibe in the background. The dark coloring and almost frenetic pacing lets each panel move seamlessly with the action. As a four-issue series, even though very little occurred in this issue, Johnson did a superb job of still moving the plot forward and I can't wait to see what happens next.

I'm not quite sure how Johnson plans to pull all of this new information together, especially given there is only one issue left to do so, between the glimpse at the world and the twist at the end of this issue that reveals another localized complication. This structure gives readers a sense of the chaos and I'm eagerly awaiting the last installment to see what happens.

That being said, the gritty, muted art take on the comic continued to work through the harshest scenes that the readers had experiences. Multi-page gunfights and the chaos of all of the characters colliding into one place was successfully conveyed through successive panels. And when things calmed back down at the end, wide shots brought the emotional ending that the series was attempting to bring about. Now that the groundwork has been laid for the larger, political world, a sequel might just be able to hammer home all of the hanging plots, but for now I'm feeling rather meh about the ending of this series.

American Gods: Shadows is the first arc, in which the first issue follows Shadow Moon through the last of his prison sentence and some heartbreaking news. For anyone who has read the novel, this introduction follows beat-for-beat the first chapter of the book, with lines lifted directly from the page or modified just slightly to fit speech bubbles by P. Craig Russell. There are no new surprises or differing points of view that might have given fans a different experience with the familiar story, which in itself is a bit of a let-down.

Ultimately, I had higher hopes for a comic book adaptation of one of my favorite novels and the cover art is misleadingly splendid for how off some of the interior art feels, but the actual Gods of American Gods do not disappoint in the slightest. It's worth a look at the series, even if you've read the book, to see how the Gods have been visualized and adapted for a new medium to tide fans over before the television adaptation premieres and to see how such a complex, dense novel will be formatted into twenty seven issues.

This was a fast-paced issue that really seemed to hustle the story along for the sake of getting there, with chapters three and four split by a 'Coming to America' sequence. Now with two other mediums to compare it to, it's hard not to feel like the comic is lacking something unfortunately.

With this new location comes Hampton's ability to draw some truly kooky things, play with perspectives, and help to build the suspense as Shadow and Mr. Wednesday venture further and further into the house. It's unnerving, unsettling, and a little bit off-putting, just as this portion of American Gods should be. Shadow's not sure what he's getting into and neither are the readers by the end of it.

Fans of the books and those who have watched the television show need not pick up this text-heavy issue. The only new components offered to American Gods fans are the visuals, which you can feel free to skim through without reading the text if you are familiar with either of the other mediums this story is presented in.

This issue of American Gods: Shadows may be my favorite to date. It's amazing what new facets can be explored when time is taken to slow down. Without having to cram more words than necessary onto the pages, the source material is allowed to really breathe.

Despite its flaws, I do appreciate the voice Sutter and Kittredge carry through this book and, while not necessarily rooting for Lucas, I'm interested to see where the story takes him in his quest for absolution. As a six-issue miniseries, if we continue at this breakneck pacing audiences are guaranteed to see that much and more in the coming issues.

Dizzying and death-defying, Lucas Stand #2 doesn't pull any punches and buckles readers in for one wild ride.

That being said, I like what Hervs and colorist Adam Metcalfe did with the setting this time around, with the gritty lines and dusty tones lending themselves perfectly to the old west. Their ability to make imposing figures out of Tempters serves the story well and I'm interested to see what they do with their next setting. The placement of some narration served to chop the action of certain scenes, and not in a good way, but being halfway through this limited series already, there's not so much left that I won't come back for the next mission.

With only two issues left, I'm not sure what the end-game is meant to be, nor do I know how they're going to appropriately wrap up a series where the main character ran a family off the road to their deaths in the first issue and continues to minimally atone. We probably won't find out next issue, as Lucas Stand heads to old school Hollywood.

The cliffhanger of the issue does bring readers to a slightly unexpected place, perhaps as the consequences of Stand's rash actions, and will no doubt serve up some kind of closure, though maybe not the most uplifting of sorts. With art that transcends panels and makes the best use of hellish imagery, I've no doubt that Lucas Stand will end on a memorable note and may even read better in trade format when the series completes.

Unfortunately, Kurt Sutter didn't seem to be pulled from his episodic television methods with Lucas Stand and there was a lot of drama at the end that didn't really pay off for readers. I'm not exactly sure where we leave Lucas at the end of this series or what he learned throughout the series, but I wouldn't put it past him to run another minivan off the road. Were any lessons really learned in the end? Lucas Stand might as well have left our protagonist and anti-hero in the same place we found him at the start of the series and that's not saying much…

The artwork and coloring from Tristan Jones and Dan Jackson continues to feel like still shots from a movie, the way things are framed, how the shadowing of a panel creates tension for the readers. We have seen just enough of the xenomorphs and their horrors to be properly creeped out, while obscuring Hendricks' " the only human's " face on more than one page in this issue. Would it be better as a movie? Maybe. But there is enough going on with this series that I'm happy to take Zula's adventure however we can get her.

No previous knowledge of the other series' is needed, as the first issue spends some time familiarizing readers with the players involved. Check out our full review here.

Even so, Atilio Rojo deserves a lot of the credit for this issue, effortlessly inking Mayor Shiffron's medieval tale and the brutal confrontation between James and Thornton. The harshness and the angles really serve to give credence to the brutality of the sequence. Rojo's artwork serves to drive home the emotional script and doesn't flinch away from the reveal at the end of the issue, promising a completely new ballgame when the series returns with issue #3.

Interestingly, this series peaked in its second issue and may hold more emotional resonance to readers of Postal, The Tithe, and Think Tank, who will have to deal with the aftermath and may feel more connected to these characters. While I did feel like I knew them immediately, the connection was severed as abruptly as the series ended, leaving me without a huge inclination to continue into their respective series. For readers who want a short, gut-punch of a series grounded in human emotions and human failings, Eden's Fall might be just what the doctor ordered.

Issue #2 piles on the issues for the human stars of the series – but really, can we get some of them eaten soon? – and also gives further insight into the Virgin Brides and Hook Jaw, but it does feel like rather forced interaction between the two species at the moment.

For a series rooted in shark attacks, they're used sparingly in this new iteration in favor of a much larger conspiracy. More questions are posed and very few answers are given, which feels too frenetic in a five-issue miniseries. It'd admirable to try to give some real substance to this character and the world Hook Jaw inhabits, but with so much going on and such a short amount of time to convey it all, I don't know that I anticipate a satisfying conclusion.

Perhaps fans of the original Hook Jaw may find some entertaining aspects of this pseudo-revival, but for newcomers the series may come off as an over-the-top-in-your-face series filled with broad stereotypes. It's a simple story needlessly bogged down with complications, and not the good kind.

After reaching the end of the story, Harry wonders if it might be autobiographical at all. With the help of his assistant at the clinic, they wonder if Rex Monday might not have been a woman all along. They comb through patient records and find one elderly woman, who was treated just yesterday, that fits the bill. Harry visits her, finding her with a husband of some sort, but she doesn't deny his accusations and his questions about Nick. She hasn't heard the name Rex Monday in so long, but seems willing to discuss things with him. The mystery being spun in Resident Alien continues to get more interesting with each twist and turn.

While to love for Mary Shelley's Frankenstein is clear, Victor LaValle's Destroyer doesn't quite hit the mark in its first issue. LaValle wrote a jam-packed script that doesn't yet deliver on the promises of the solicitation, nor hint at groundwork that would begin the exploration of police brutality, but there is something to this modernized re-imagining that is intriguing and I'll be sticking around at least for the next issue.

Being a series limited to six issues, each one is precious in moving the story forward. I think the first issue just barely scratched the surface, but was enough of a wild ride to sell me on sticking with the story. I'm interested to see how the hapless new member, Sid, makes a name for himself or, eventually, harnesses his new-found powers for his own ends.

For a six issue miniseries, the forward momentum is practically non-existent throughout the second issue, but it is getting prettier to look at. Dylan Burnett and Triona Farrell work together to make the art and coloring convey the supernatural crime elements well. Sid's gifts from the spider are still muddled at best, but this issue we get larger spreads and more interesting powers showcased that still makes the book visually interesting. The shadowplay and Farrell's ability to make the coloring both dark and sinister, as well as capturing the neon of big cities, continues to draw me in. At the very least, my inner sixteen year old boy pretty solidly enjoys Weavers.

I still don't enjoy how the font changes color, boldness, and size – frequently all within the same speech bubble. This issue comes with bonus text message bubbles that overlay panels. I'm feeling the same way I initially felt about the speech bubbles, cautiously optimistic to this new development, but if it continues into next issue, we'll see if it gets just as old.

Slightly uneven, but face-paced enough and finally offering up answers, this issue of Weavers marks a turning point in the series where Sid and the audiences are left adrift.

Ultimately, if you're looking for a quick, unique sci-fi read, you could pick up Weavers with no real expectations of grand storytelling. The six-issue series focused on one family-shattering event that just happened to also have spider-given powers and a clash between dueling factions.

Briggs Land: Lone Wolves is an emotional investment in a politically-charged series that is challenging to read and asks much of the audience in the process. Residing in the morally gray areas, Brian Wood's rewards readers with a deeply thought-provoking series that puts the beliefs of one family in the spotlight. I can't recommend it enough.

We can hope that the eventual moral of the story is that the bad guys don't win, but that's all dependent on who you see as the 'bad guys.' Between Caleb's actions in the first arc of the series and Isaac's actions that have led up to now, the moral of the story may actually be don't challenge the Briggs family…

As things appear to return to the status quo on Grace Briggs' land, there are hints of unresolved problems to plague the family in the future – the least of which may be the suits surrounding the property. In this tumultuous political climate, Wood and Chater continue navigate the waters with thoughtful commentary about an alternative universe that hits very close to home.

A quiet step back from the calculated, cunning, and morally gray Briggs family, this issue of Briggs Land: Lone Wolves explored another, equally as tricky gray area. It was an invigorating detour that really proves the creative team has a handle on what they're exploring with this series.

Elena Marlowe, college professor, wife, and mother, is one of those people denied the trip off of a doomed Earth, though she does her best to outsmart the system. Likeable and relatable, questions about her mysterious past hang over her head. With a twist ending and a relatively short series run, readers are bound to get answers soon.

Elena must head to one of the Children of the Revelation camps, where the leader Ted Holmes is rumored to be, and execute him. Another familiar face from her past makes an appearance and assists her in getting close to Holmes. The man projects confusingly pure intentions and readers are left with a cliffhanger going into the final issue. Questions remain about Elena's past (why couldn't she get on a shuttle in the first place?) and where exactly this fabled extra shuttle might be " or what those shuttles in space are doing. Do they even know the Earth survived? It will be interesting to see how Barbiere chooses to wrap up this compelling series.

Somewhere around the middle of the first issue of Cryptocracy, I was hit with such a nostalgic feeling that took me until the aliens showed up to place: Men in Black. Between the talking Bugbear companion, the snappy dialogue, and the working class aliens, there was a tone to the series that was reminiscent of the movie. Which worked in the series' favor, because as much as I was rolling my eyes at the start, I really began to enjoy the cliches from that point on.

All in all, it's a relatively ho-hum issue for me – one that delves too far into the cliche without actually being fun.

Overall, my enjoyment of the series continues despite some cookie cutter characters and the intrigue continues to hold my interest into the cliffhanger readers are left with.

Regardless of the disconnect I felt in even the most emotional of scenes in this issue, it was probably my favorite since the first. Gripping action with compelling character elements that grounded them again and reminded readers of the stakes is everything I want to see in this series.

Fast and furious, issue #5 of the series may be its best so far with bringing together all of the major players, giving peeks into the ruling politics of the mysterious families, and winking at readers with nods to actual conspiracy theories (looking at you horse at the Denver airport). 'Fun' is probably not how I should describe an issue with so much bloodshed, but this rollicking adventure continues to unfold in such an engaging way that I can't help but be charmed.

This showdown between Grahame and Hum has been building since the first issue and its payoff is well worth the wait – there's even a fantastic callback for attentive readers. Through the traditional bad guy monologue, more information about Chronos and Grahame's own secret history is revealed, proving that Cryptocracy has a ways to go even after such a fantastic culmination of events so far.

Darkly humorous moments pepper the issue as Jordan gives us a perfectly paced look at the bigger picture, while Kristantina's art continues to impress. And shout out to Matt Taylor for his covers " this issue especially, I need it on a tshirt. With #6, Deep State is hitting its stride and showing a balance between blending the past conspiracies we all know and love and creating new ones central to our protagonists.

This one-eyed Harrow makes quick work of the programmer and then begins to question Brand. He's hoping to have destroyed Control, spins a little tale about Brand's own origins, and how " when you're really good " you get picked to check on Agent Harrow. When Brand attacks the one-eyed Harrow and questions her own partner, asking if he is "entire and effective," he answers, "No." The conspiracies are growing exponentially as things get more and more convoluted with Deep State, which is not necessarily a bad thing. This fast-paced, action-packed issue has the art to match and I personally can't wait to see how far down the rabbit hole this goes.

With some of Joshua's memories returning and Nila's headstrong ways, the plan doesn't exactly go off without a hitch. Ei8ht #3 brings us to a surprisingly quick confrontation and continues to move easily and fluidly through time thanks to the gorgeous coloring.

Dr. Hamm and Nila get to the Meld, leaving behind a heroic Collins, after the final showdown. There is still the question as to Nila and Joshua's relationship, where he ultimately decides to go home to his wife (who is kind of but not really Nila"). The second half of the issue sets up a lot of the storylines for a second book, but I'm hoping the time twists weren't the only thing keeping my attention with this series. Overall, it was a solid outing with the potential to continue an intriguing and unique concept. I can't wait to see what Book Two has in store for readers.

Gutter Magic has carved out a niche for itself inside of genres that feel familiar, while presenting them in new and interesting ways " magic isn't going to be the easy answer to all of Cinder's problems (though whether he understands that or not is something to be seen in the rest of the issues) and that makes the journey all the more interesting for readers.

A trip to Cinder's cousin, in the middle of a get-together, presents Cinder with the opportunity to help someone beyond himself " though whether he decides to out of the kindness of his heart or for the right price will have to be answered in the next issue. The world of Gutter Magic continues to expand this issue, while readers get a more narrow scope of what drives Cinder in his selfish quest for magic and how it affects those around him.

While I was somewhat confused by Shiver's motives, I really did enjoy every panel that the dragon was depicted in. Barkley's strong lines and bold colors really helped it to pop. Utilizing the diversion, Cinder's luck continues as he escapes the fray. Leading into the final issue it appears as if he may finally get the answers he's been searching for. I can't wait to see how the creative team wraps up such a fascinating and expansive miniseries.

With all of that being said, it does feel like something of an abrupt, if open ending, that leaves room for the creative team to revisit this universe and these characters if they should ever choose to. Beyond Cinder and Blacktooth, very few character connections are easily made for the reader. I'd love to see more of Morgue's life after that peek into her backstory, but for a four issue mini-series, Gutter Magic is worth picking up and exploring. An interesting twist on magic, a fascinating alternative history approach, and a host of characters loaded down with baggage makes for one roller coaster of a read.

The solid, if somewhat perfunctory, start to this series and that twist ending has piqued my interest enough that I'll be sure to pick up the second issue to find out where things are headed. Fans of Kirkman will be pleased with this debut and the world that the creative team has designed, it's both comfortably in his wheelhouse and something new.

Following the lives of the superheroes who've gone bankrupt and made it their mission to repay their debts by repossessing the assets of other superheroes who can't pay their debts doesn't sound nearly as hilarious as the creators manage to make it in this debut issue.

In a world where anyone can take out a loan to become the vigilante superhero of their dreams, The Paybacks has a lot of material to explore. It's not a parody and, as much as the premise seems familiar or like it's already been done, the issue reads fresh with as much information as the readers are provided in such a short amount of time. I'm on board to see what happens next. Let us know in the comments if you are too!

And thrown into his first assignment with little explanation, Night Knight's skepticism leads to an interesting cliffhanger with larger implications for the Paybacks and their mysterious boss, Mr. Pierce. I'm eager for the next issue to see how the creative team can spin the latest revelation into something as witty and hilarious as the first two issues of this new series.

While it started out heavily satirical, The Paybacks has really grown into a dark comedy series that brings laughs one moment and uncomfortable truths in the next, giving readers a lot to chew on with each issue.

If it is the last issue, I'm hesitant to spoil anything for those readers who are going to enjoy the wrap-up installment, but I can continue to praise the work of Geoff Shaw and Lauren Affe, who do the art and colors to keep everything on the page dynamic with each new panel. It's especially great in this issue with full page spreads dedicated to the action. Hopefully, we'll get more of their work in future issues and some of the cliffhangers and plot points are resolved.

There are some fascinating ideas in Kingsway Law and the first issue puts a lot of the building blocks in place for a sweeping epic western-slash-fantasy showdown, but it's difficult to connect to a generic hero, who I hope gets more fleshed out alongside the rest of the world in future issues. If my biggest gripe with the first issue is that I wanted more, I can't complain too much. Pick up Kingsway Law #1 at your local comics shop and let us know what you think!

Narrative bumps in the road aside, the book continues to tease out a fascinating alternative history and intriguing uses for Red Gold. This time, it's used in a way to speak with the dead and also to power the wings of an African American scout. The art from Mirko Colak focuses on expressions and people over broader landscapes, humanizing the story and the struggle that much more.

Ultimately, Kingsway is left with a choice: to abandon his mantra of 'no trouble' and help his new friends in the defense of the red gold or return to his wife. His decision leaves the series open for future exploration while also wrapping up the first adventure nicely. With such a rich and creative alternate look at history, here's hoping this isn't the last look at Greg Pak's wild west.

This series continues to be an uneasy look at some very timely topics, helmed by the incredibly talented Brian Wood, as well as artist Mack Chater and colorist Lee Roughridge. It's a tense family drama that paints the issues in shades of gray, forcing the audiences to consider some very difficult situations and conversations and issue #4 really digs down into the matters at hand, exploring just how far and how willing people are ready to go in furtherance of their ideals.

Honestly, I'm not attached to Hum so much as I am attached to the world being built with Coda. As jaded and disengaged as the main character is, I found myself alight with interest exploring this new world that the creative team has crafted. Like the rest of these fantasy characters, I'm crying out for more magic in the upcoming issues. Be sure to read through to the end of this oversized first issue for that gut-swooping hook that will definitely have readers eagerly awaiting more.

D4VE is back and he needs your vote! Ferrier and Ramon have crafted an interesting third arc that is a great jumping on point for new and returning fans as they explore robo-political issues that D4VE may not be able to simply punch his way out of. It's a fascinating, fun social commentary that is a welcome distraction in the currently churning political climate that really may give way to the rise of robot overlords (we can hope anyway).

The heavy exposition of the first issue, and the gorgeous artwork to help the story along, promise a layered mystery that we're excited to delve into as the story progresses.

It's only after some mysterious healings and an impromptu town meeting at the tree that we see what might have happened. Emmy may or may not have been the live girl pulled from the tree after the witch burning " another girl was found dead, like the calves of the first issue " and now that she's eighteen, it's time to" kill her? Maybe? That's the assumption she makes and runs away with her Haint. So far the story has been weird and intriguing enough to keep my attention despite the common tropes it's based on and the cliffhangers keep me on the edge of my seat for more.

Tyler Crook's art continues to dazzle this issue; the interior scenes especially convey a sense of what the characters are going through and the peek at what's to come is intriguing enough to keep me interested in the next arc. This southern gothic fairy tale had the storybook ending that was to be expected, though shadows continue to lurk and I'm interested to see what's next.

Kicking off the second arc with a jarringly different tone from the attempts to murder a child that the first arc followed is genius in the way it feels very much like the calm before the storm. Even Emmy herself is not on solid ground as she tries to befriend the beast that Hester left alone, with murky results. As a literal storm rolls over the plains, readers get the answer to the cliffhanger from issue #4 in the form of a sister for Emmy. Different from what we have come to expect from Harrow County to date, this issue served as a necessary and exciting bridging issue " still uncomfortable, but difficult to pinpoint how or why " into the second arc and the mystery of how a reincarnated witch could have an unknown sister and what this means for Emmy as she begins to settle into her new circumstances.

Cullen Bunn's writing hints at a larger picture that we've yet to see; perhaps Kammi is just another spooky bump in the night that needs some coaxing from Emmy to be content. As always Tyler Crook sets the haunting tone with his artwork and the coloring from Ma'at Crook lends itself to the whimsical, yet dark, vibe of Harrow County.

It's something of a filler issue that is setting up a larger showdown between the siblings, but if this is the worst that Harrow County has to offer to date, the series isn't doing too shabby. As mentioned, the visuals of these supernatural creatures are worth the time alone. The way they are presented gives them the ethereal feeling that they could side with either sister " good or evil " and it just so happens that Kammi beats Emmy to the punch. Issue #7 is one of the weakest issues to date, but it's setting up something that should be worth the wait, if past issues are accounted for.

When a mysterious drifter comes to town, the skinless boy's muscle and bones collects its" skin from Emmy and makes his acquaintance around the fire. If you're not familiar with the five-dollar word psychopomp, it'll make sense by the end of the issue. What follows is a heart-wrenching look and reminder that the skinless boy is still very much a boy. This calm, side-story was a nice breather issue to remind readers of the talent behind this horror series and why it's one of the best on-going series out right now.

Readers are left with a cliffhanger that was telescoped well in advance, but I'm hoping (and have full confidence in the creative team) that the next issue pays off on this set-up.

Tyler Crook's art continues to creep me out and amaze me all at the same time, those possums might haunt some of my nightmares. The brightness and clarity of the flashbacks were a nice contrast to how muddled and dark the present is, and both time periods showcased the faces and emotions of characters well. This was a fantastic, solid issue that expands on the world of Harrow County without taking readers outside of the scope of the small, eerie town.

At the very least, this sets up the next main story arc for the series and the return of a character we all knew we hadn't seen the last of.

And for the first time, the "Tales from Harrow County" one sheet at the end of the issue also seems to expand on the newest story arc and Emmy's past connections. Meandering through the nuances of Harrow County was fun for a few issues, but I'm glad to be back on a more focused path with a driving force again.

Tyler Crook continues to leave me in awe with his artwork on this series. Not only are the characters wonderfully expressive, but gifts are showcased complementary to the text and Crook gets to flex some artistic license in making those powers both grandiose and beautifully ominous. This issue may be my favorite of the series to date as it encompasses all that I've come to associate with Harrow County. Do yourself a favor and pick it up as soon as possible to finish out the arc with us next issue.

The action moves quickly through the issue, with Tyler Crook stretching his muscles for emotive characters, particularly fearful and angry across multiple people. Between a glimpse at the creature in the woods once more and a brief mention of Kammi, this issue is a callback to many of Harrow County's fluttering threads in the best way. The ending of the issue is worth it in itself and I am eager to see the outcome next time (where's Bernice?).

The one-page short story written by Bunn at the end has more visceral and immediate impact than the main story, but I've no doubt Bunn and McNeil will pull us towards a satisfying conclusion regardless.

This issue rewards readers with a payoff that has been slowly building over time – the hints were there and the conclusion is an awesome moment, if not a little bit confusing. I've no doubt in Cullen Bunn's writing abilities and Tyler Crook's artwork is just as stunning and grotesque as always, with the added bonus of new haints. Together they manage to make some terrifying creatures look, at times, cute and scared in their own rights. Already, this arc is shaping up to possibly be my favorite.

This issue of Harrow County seems to be a crucial turning point in the story and one that I definitely didn't see coming. How Emmy handles the aftermath and the ways in which she'll continue to be tested remain to be seen.

The first issue ofImposter is action-packed, offering a unique twist on superhero identities that opens up the series to a lot of fascinating possibilities in future issues. When Detective Hale Barker learns a life-changing secret on the tail end of a crisis situation, readers have yet to see if he will be able to rise to the occasion. Earth may be doomed if he can't.

He tells Art that he used a charge to get rid of the automatic control system and only later find out that the tentacle was probably meant to be some kind of rescue vessel for them. We also got a peek into Art and Phil's first meeting, where Art saved him from being tortured " leading me to wonder how they got from there to here in their relationship. While Art is off talking to a primitive twenty first century psychologist, Phil is with Hein Trooper and declares that he'll help if he helps kill Art. Things are getting good with Past Aways! Every time I think I've got a relationship figured out, more layers are added and more character flaws are revealed. I really enjoy how things are slowly teased out each issue.

Reacting along with the rest of the team, the reader is left stupefied about what happens next. With Hein's particular affliction giving him the opportunity to off Art (for good?!), and Phil behind the dastardly plot " and after they had such a nice heart to heart " we'll have to wait to see how the team pulls it all back together, whether they will be one member short or two remains to be seen. As the first story arc winds down, Past Aways continues to be quick-witted sci-fi.

A lot happens visually, while so little happens in advancement of the plot. The jumping between time periods takes up about as many pages as the reminiscing on why it's a terrible idea for two out of three people to go back. No tears are shed for Phil, nor does Herb get anything close to a slap on the wrist for putting everyone in this position. As we close out this series, it's all stark, no-bullshit moving forward and the art lends itself to their chaotic journey and tumultuous emotions. I can't wait to see how it ends.

If you didn't have the chance to read this series during its original run, I highly recommend you pick it up and give it a read. The characters are interesting and unapologetic and the writing is as snarky and entertaining as any team-up should be.

Regression #1 is the kind of opening issue that burrows under the skin like mealworms and leaves readers itchy at the end of it. The exploration of past life regressions and how they're manifesting in the mind of Adrian is only the beginning, definitely pick this one up if you're a slow-burn horror fan.

For readers who aren't squeamish, the story is steadily picking up steam as Adrian's mental state becomes further unhinged. The creative team is masterfully building up the dread and uncertainty of Regression and I can't wait to see what happens next.

Megan Levens' art continues to be on point, with the female-centric diversity on display even more and the party scenes allowing for more visual comedy across panels. She's helped along with the bright coloring of Marissa Louise to really fill out the celebratory vibe. An entertaining mix of Buffy The Vampire Slayer and Supernatural, this series continues to be a nuanced, engaging story that should appeal to a wide range of audiences, with the promise of more adventure to come.

Spell on Wheels had a very strong run and I suspect that it will read even better in trade format, like a spontaneous road trip with your besties. With each girl given a grounded, real personality and interests outside of magic, tackling plenty of tough issues along the way, and a humor reminiscent of Buffy the Vampire Slayer the entire series is a great weekend read and I'm only sorry to see it end (for now?).

When you thought there wasn't any more nuance to be had in the mythos of King Arthur, Merlin, and the Knights of the Roundtable, Bunn takes those notions and throws them into a blender to make an all-new supernatural horror smoothie. Accompanied by Colak's excellent art, Unholy Grail puts a new shine on an old tale that makes me extremely curious to see where this series is headed. After all, I've got to see Excalibur"

Artist Paulina Ganucheau continues to bring bright pops of color and diversity to Zodiac Starforce even as the storytelling takes a turn for the dark, as well as showcasing her prowess with Magical Girl battle scenes. The interactions amongst the characters feel real and grounded, making this series one I wish was around to give my teenage self.

Once the dust settled, it was made clear that any of the problems that broke up the team originally were solved and it's back to normal high school shenanigans " with the occasional Starforce battle of course. An epilogue hints at other Zodiacs not seen " including a male Leo and Cancer " that has me ready for the next arc. Zodiac Starforce was an easy, entertaining read that I wish had been around in my awkward middle school days, which doesn't detract at all from how much I enjoy it in my mid-twenties.

The Unsound #1 takes a familiar concept and adds depth, sprawling unease, and paranoia in heaps " both to the main character and to readers. The creative team succeeds in this stunning debut, evoking that feeling you get when the hairs on the back of your neck stand up. For psychological horror fans, this one is not to be missed.

The best issue to date, The Unsound continues to push the boundaries of tense, slow-burning psychological horror. Ashli disobeyed the strong suggestion that she especially must keep her mask on and readers were presented with a trippy, visual escape that may just further doom the riot survivors…

The Unsound really leans into the madness that the setting allows for and takes full advantage of it for the first time in this issue. Cole's artwork and Bunn's writing belays such a visceral terror at the loss of control and the helpless feeling of insanity makes this series one I want to put down immediately and one I can't stop looking at.

Paknadel & Trakhanov's Turncoat is a welcome genre-bending entry into dark sci-fi and hardboiled detective noir that readers should pick up at their local comics shops as soon as possible!

It's always hard for me to write about Paknadel's work because I want readers to experience it for themselves first-hand, to have the opportunity to get that same visceral reaction I feel when reading his comics, to want to immediately flip back to the beginning once finished. Suffice it to say, neo-noir fans " I'll even drop Blade Runner in this review " aren't going to be disappointed by the direction that this (mini)series is headed in.

Someone buy Jason Wordie a drink because the city, the people, and the violence all live and die through his coloring, especially the neon pops amongst an otherwise decaying landscape. Trakhanov's scratchy lines and gritty artwork give Wordie the canvas to bring Paknadel's neo-noir alien aftermath to life. With only one issue left, and many of the players revealed, this series promises anything but a neat and tidy conclusion in its exploration of the fallout after a revolution.

Trakhanov and colorist Jason Wordie continue to layer a fantastical world and set the scene for Paknadel's writing through to the end. The angles Trakhanov uses and the coloring choices from Wordie help to keep the final reveal a mystery until the very end. Not your run-of-the-mill, humanity conquering the alien invaders story, this one will stick with readers long after the final page. Paknadel's exploration of power vacuums and the tolerance of evil for the greater good is finely nuanced for such a short miniseries and leaves me confident in my continued praise for his writing. I can't wait to see what this talented group of comics creators chooses to showcase next.

That's the premise behind Image's latest offering, Hadrian's Wall, anyway. Framed around a death investigation is an alternate look at history that brought forth the sci-fi murder mystery.

Kyle Higgins and Alex Siegel do a fantastic job of sprinkling out the information, as well as giving some high-tension emotional moments, both for Simon when he finds his pills gone, and for Annabelle who reacts as one would expect to her ex-husband questioning her about her dead husband. Rod Reis' art also does a fantastic job of conveying the differing crew members, as well as their reactions to the death – nerves, apathy, anger, and more all play well on the faces of the harangued crew. Add the gorgeous character work to the expected cliffhanger and Hadrian's Wall has me eagerly awaiting the next issue.

The bottom line is Godshaper is a whole lot of fun wrapped up in a colorfully creative package delivering an extraordinary set of circumstances with a cast of cheerful misfits. With such an interesting concept, gorgeous artwork, and endless possibilities, there is no reason not to pick up the first issue of Godshaper wherever you get your comics. I'm already eagerly awaiting what happens next.

The less that is said about this issue before reading it, the better the roller-coaster ride of emotions will be. Ennay and Bud may not be interested in the mysteries of this world, but the more that leak out onto the pages, the more intrigued I am.

With the end of the issue outlining a plan to get all of our protagonists back together and still so many questions unanswered, things are hurtling towards a conclusion quickly. Spurrier and Goonface continue to put out some of the most beautiful, thought-provoking, and subtle work that I wish would never end.

Have you checked out Arcadia #1? Do you need to discuss your sudden crisis in the comments with us? Let us know what you think of this new series from Boom Studios!

Each piece of the puzzle makes things more intriguing and if you haven't picked up Arcadia yet, you're missing out on what is probably the best new sci-fi series of the year.

There is a labored Gamergate reference that took me out of the world of Arcadia for the first time but, ignoring that, the writing continues to be intriguing and on point social commentary wrapped up in a narrative that really makes you stop and think. Beyond Binetti's new power, there's a greater danger in Arcadia; people " their source codes " are permanently dying, being wiped out from the mainframe, something that shouldn't be possible. One the fault of The Meat, but the other death seems to have come from inside Arcadia. Each character has a different pressing issue or question that motivates their actions and that's what makes each issue of Arcadia so interesting. I can't stress enough that everyone should be reading Arcadia and delving into these issues of cyber-ethics and human consciousness with me.

As always, Arcadia #5 is layered, chaotic, and fantastic in posing unique questions in the best new science fiction series released this year.

The incredible work put into the first five issues continues to pay off as once again readers are given layered answers that lead down the rabbit hole of more questions. Paknadel does a fantastic job tying up certain lose ends, while unraveling new mysteries that still move the story along. Eric Scott Pfeiffer continues to effectively convey the slight differences between reality and Arcadia and gets to showcase some impressive action sequences this issue. One of my favorite scenes to date is the featured image for this entire article.

Eric Scott Pfeiffer drew the cover art, as well as the inside panels, and continues to craft very visceral scenes for readers to immerse themselves in. The art at the end of the issue, wrapped up in the cliffhanger, uses dark coloring and the entirety of the page to instill that sense of foreboding. Overall, Arcadia continues to be one of the must-read comics and if you haven't picked it up yet, you really are missing out.

If you still haven't picked up Arcadia (for whatever reason), I can definitively say it's worth it now that I've ridden the rollercoaster to the end. For fans of sci-fi, this is going to be one of the comic series' that will be referenced among the best of the last few years (and probably the next few at the very least). The exploration of virtual reality and the world-building efforts brought forth through the lens of what ultimately might be one giant family drama leaves a lot of interesting things to ponder when the book is closed.