Animal Noir is a frustrating read. Its sense of humor feels underdeveloped and the characters are overly simplistic. The art is expressive and fun, reminiscent of a European style that's uncommon in most IDW comics, but it's not enough to save these animals from monotony. The superficial nature of the story appears to be an intentional presentation for comedy, but as hard as I tried, I couldn't find much to laugh about.

Batgirl #10 proves once again that Hope Larson is a wonderful fit for Barbara Gordon. This light-hearted story is entertaining, adventurous, and rich with positive morals; the mystery is intriguing and well-paced, and the characters are well-defined and dynamically illustrated. A no-brainer for lovers of fun.

Black Hammer is a terrific series. Lemire is doing top-notch character work while Ormston and Stewart are executing some lovely and expressive art. However, this issue was not as strong as what we've come to expect. I'm not sold on the Black Hammer character, and I think they may have been leaning too hard into his death for drama, but I'm looking forward to see how the creative team develops newcomer Lucy.

Scraped out of the bottom of the Boom! Box, Coady and the Creepies doesn't attempt to reinvent the wheel in any way, despite it's supposedly punk roots. Worse yet, it's just not funny; there are more soulless chimichanga jokes packed in one issue than in a Deadpool compendium. The best thing about this series " and ironically, the worst thing " is that it really does feel like you're going on a roadtrip with a bunch of sixteen-year-olds who act twelve. With nothing grand to say, nothing fun to celebrate, and nothing distinct about its execution, this book amounts to fleeting entertainment at best.

A solid beginning to the new arc. A reduction in juvenile humor and unnecessary ogling makes this appetizing cheesecake much easier to swallow.

What Eleanor and the Egret lacks in plot specifics and well developed characters, it more than makes up for with its charming style, stunning art, and lively page designs. Seeing as this is the debut issue for the miniseries, the "lack of information" complaint doesn't hold much water. But even if it did (and it eventually may), I'll happily be along for the ride, because this book looks and feels like nothing else on the stands.

John Layman and Sam Kieth continue to impress with a stylistically ambitious comic that dazzles with its unique, beautiful visuals and surprises with a story born in strangeness, adhering to no sort of predictable tone. It still feels like we are in the setup stage, but enough is here to hook readers for the long-haul. A new character is introduced in this issue who stands polar opposite to the aesthetic of the series so far, potentially signaling a catastrophic and violent disruption. I like where this comic has been, but I love where it could possibly go.

I'm enormously pleased with the results of Matt Kindt and David Rubin's collaboration. Boone's story strikes a chord with me on an emotional and aesthetic level. It's a joyous read with marvelous characters, vibrant art, and a riveting story. Issue #5 is a turning point for the series, and an excellent conclusion to the first arc. Here's to an equally ethereal second volume!

God Country is more impressive every month it's released, and issue #3 may be the best yet. Donny Cates' writing is top notch, and even in a bleaker, less visually-engaging setting, Geoff Shaw's art is expressive, moody, and satisfying. If the team can keep this up, we're in for one hell of a ride.

This isn't a good comic for anyone besides GWAR diehards, who would probably be better off with a new album anyway. It's poorly written, full of nonsensical plot garbage, and stricken with tasteless humor. If the fourth wall had a glory hole, GWAR: Orgasmageddon #1 would be the safe-space violator in your friendly neighborhood bathroom stall.

Hellboy's latest standalone tale is a must read. If not for Gary Gianni's art, which is immeasurably stunning, then at least for his writing, which crafts a wild and tragic tale woven with poetry and possessed by an obscure devilry that only Mike Mignola could be responsible for.

Kill The Minotaur manages a straightforward simplicity with effective characterization to make the dark and disturbing mythology more accessible, but never sacrifices quality or depth to do so. New layers to the original myth are explored through beautiful, haunting, and extravagantly detailed art. A surprise hit, well worth the purchase.

The success of Kim Reaper rides firmly on the hinges of your sense of humor. If your heart has grown cold and weary of the outlandish and juvenile, then maybe take a pass. But for those who gravitate toward the odd and amusing, this is a worthy and delightfully silly diversion.

Misfit City earns a recommendation for those who are interested in stories of the young-adult and lighthearted variety. It's an adventure story from a simpler time, reminiscent of and paying homage to The Goonies. It manages to aim at a younger audience without talking down to them, making it accessible and entertaining for adults of all ages. No intolerable, cringeworthy teen dialogue to be found here, just genuine youth interactions and excellent character designs. The story is just getting started, and I'm looking forward to what it has in store.

Mother Panic is a worthwhile, angst-fueled adventure with great art and a fun protagonist. Violet is a vigilante unlike any other in Gotham, even if her damaged persona and haunted past ring one too many bells. Her personality is juvenile and that's the point; these are growing pains for Violet. It's a risky move to introduce readers to a character in this stage of her life, but I like it.

Greg Rucka has done it again. Issue #2 of The Old Guard is " by design " less exhilarating than the first, but the lore and core-character expansion found within this briskly paced story keep it just as engaging. Fernandez's art with Miwa's colors continues to be an absolute delight, and Rucka has established an enthralling tone for this promising series. I'm thrilled to see where things pick up from here.

Rapture makes a strong debut as Valiant's first comic to concentrate on high-fantasy adventure. With charming dialogue, fantastic backdrops, and classically entertaining exploration, this is a fun and accessible introduction to the Deadside.

It's an enjoyable read, to be sure, and the art is excellent, but at this stage everything feels too familiar to give it a full recommendation. Only time will tell if this escalates beyond your run-of-the-mill fantasy. For now, it will do.

I hope you have your rose-tinted glasses on for this one, because without the nostalgic love for generic high-fantasy stories you've heard a hundred times before, there's little to admire about the plot of Rose. Though for every misstep in the story (retraced step, rather), there is a heap of Ig Guara's outstanding art to gawk at. This isn't a bad comic, it's just that everything involving the plot and characters feels immediately tired upon introduction. Despite that, the marriage of story and art here is wonderfully done, and it infuses the title with enough energy to make light entertainment for readers not yet jaded by run-of-the-mill genre stories.

The first issue succeeds on every major level. It's so promising that I wish the book could last for longer than its solicited 4 issues. Your heart will melt in-between smiling fits, your eyes will grow spoiled rotten from Raul Allen and Patricia Martin's visual splendor, and Eric Heisserer's character work will have you clutching the nearest pillow, yearning for more. Secret Weapons unknowingly fulfills a prophecy set forth by its title, coming out of nowhere and dominating from the start with a creative team that you never knew was a dream collaboration. This issue proves that Valiant's own secret weapon is an onslaught of brilliant stories from great talents, and while this issue is just the beginning, I miss the series already.

While the issue is stand-alone in the sense that it exists between arcs, it is an absolutely essential and cathartic piece of the story that greatly benefits from the context of the previous issues. I wouldn't exactly recommend this for new readers, but I strongly suggest you pick up the first volume when it releases in July, or at least catch up digitally so you can stay current with this marvelous series.

Go and pick up Sun Bakery, it's a creative and artistic tour-de-force. Pay one dollar more than your average comic and you get more than twice the page-count, incredible and varied art that challenges the common western style, and you get to support a creator who has unique sensibilities and immense talent. What better deal is there?

Perhaps my lack of engagement is due to me not reading the original miniseries. If that is the case, then I would recommend existing fans give this a try, while newcomers should seek the recently re-colored trade collecting the first series to see if this book is for them.While this issue is written moderately well and the art is quite nice, none of it feels important. Some elements catch my interest, but I was never absorbed by the story or characters. Things happened, choices were made, and the plot flowed along smoothly, but by the end I questioned the meaning of it all. I'm not sure if I was entertained as much as I was distracted by what was happening. It's a comfortable, competent read, but it's lacking a strong enough hook for me to even consider coming back.

I can't help but feel that The Fix is somewhat of an outlet for Nick Spencer. Something for him to freely express all of his most morbid comedic sensibilities. The characters are shallow, most everything is a means to a punchline, and it's far from meaningful or profound, but if your sense of humor lines up, you're in for one hell of a funny ride. This issue explores some new ground, most notably in a hilariously bizarre dream sequence, and retreads some familiar but effective territory in its sexual-based humor, but it looks to be a strong start for the new arc. If you've been a fan, you know what to do, but if you've been on the fence, there's nothing new here to change your mind.

The miniseries concludes beautifully, wrapping up all of the thematic ideas that were brought to life in previous issues, and doing so with the heartfelt hilarity that has come to be expected from Russell and Pugh. It's a loving and hopeful sendoff for these characters. In ways far above what its title can insinuate, The Flintstones succeeds to be funny, meaningful, and important.

The Shaolin Cowboy is completely off the wall. Like an unhinged stream of consciousness, but less of a stream, more of an unrelenting downpour. Like a scathing commentary on modern America and technology, but with more chi paths, talking crabs, and house pets with a cigarette problem. The book follows no traditional narrative structure. It meanders and it confuses. It's a mess, really. But it's a lovably offensive, beautifully illustrated, remarkably hilarious mess. A magnificent, whimsical disaster.

Emotionally barren, lacking in excitement, and struggling artistically, Vampirella continues its everlasting stumble through mediocrity in issue #2 of Dynamite's 2017 relaunch.