While Abe Sapien #8 is a perfectly fine comic book it feels too much like a Hellboy book for it to ever stand on its own. This book gives you everything you already know you enjoy which leaves little room for authenticity.

And the highlight of Animal Man #25, that I adored, was the lettering by Jared K. Fletcher. I really love that specific characters, mainly the creatures of The Red, get their own lettering styles. Reading dialogue boxes that don't have the standard font but rather a squigle or a scrawl triggers my brain to read them with either a growled tone or a hiss. It's details like this that create three-dimensional characters and in this case brings life to fantastical creatures.

The other-worldly art created by Matteo Scalera and Dean White is truly that. Scalera's designs are exactly what you want to see in a story that takes place in another dimension. The frog people have bulbous bellies that carry weight and the terrains feel familiar but still alien. There is great variation with panel layouts which feeds into the anxiety that Remender is weaving. Quiet panels feel quiet and crazy panels feel crazy " motion and energy continuously flow from page to page keeping with the books pace. Team all of that with Dean White's painted colors that give this book its life and you've got an amazing collection of art.

This is a great jumping on point for anyone who was interested in this book or character. It is a self contained, stand alone issue with emotion that is wonderfully paced down to the last page where a teaser pertaining to the future Captain Marvel leaves you wanting more.

Dead Body Road is a rough and rugged revenge story off to an excellent start and should only continue to get better as the creative teams synergetic energy grows.

All in all, Deadly Class #1 is a solid first issue that promises to build on its mysteries and entertaining personalities.

This issue is what the series needed at this point in time. It gives the reader time to focus on a new character and see how the pieces of the puzzle are coming together without beating them over the head with the weight of the overall story.

Starkings brilliant storytelling wouldn't be anything without Axel Medellin's art adding to it. The emotion of this book is told through Medellin's facial expressions and close ups. His ability to draw advanced technology and mutilated and mangled fetus' help ground the story in a futuristic setting. He doesn't do anything too flashy with panel layouts but some panels suffer from not having enough space to live in which causes some wonky perspective choices.

While I wish I would have gotten to experience how the five literary ghosts play into the story,this issue had more than enough going on to keep my attention and make me want to come back for the next adventure.

This issue would not be as wonderful as it is without Dave Stewart's colors. It's his colors that suck you into this dim, muted version of Hell. The grays and browns blanket you as you swim in the sadness of Dulot's plight and then BAM! Hellboy lights up his cigar and the panel bleeds red from the flame. The instances of extreme color variation are wonderful elements that provide excitement to this book.

This is a great start to what seems to be a really fun sci fi adventure book and is highly recommended.

Overall, Samurai Jack #2 is a solid comic book with a lot going for it. Fans of this character have to be delighted with this book and new readers, such as myself, have plenty of reasons to stick around.

When people talk about great comics they need to start mentioning Samurai Jack. This is a comic that bleeds heart, fun and creativity as if it were sliced with a katana.

Samurai Jack #5 is definitely worth picking up and reading, it doesn't have as impactful or poignant of an ending as I was hoping for but it's a fun ride with great art.

What did you think of issue? Let me know below in the comments or on Twitter (@theprophetlen)

While the story is set to suck you in, what will really catch you off guard is the art. Mathew Reynolds delivers an entirely digital cinematic experience that props layer on top of layer using color fades to create perspective. The jungle scenes work really well as each level of depth has its own color arrangement designated to it. His expressions and silhouettes are poignant and dynamic. And while his color variations are a bit repetitive they stand starkly on the page making each panel pop.