All-New All-Different Avengers Annual #1 looks at fandom and fan fiction in a mostly humorous and sometimes critical light through the POV of Kamala Khan, the Marvel Universe's biggest superhero fangirl. Add in the varied art styles from creators, who mainly work on indie titles or webcomics, and it's worth picking up even if you're not keeping up with the main All-New All-Different Avengers series.

America #1 definitely lives up to the hype as Gabby Rivera, Joe Quinones, Joe Rivera, Paolo Rivera, and Jose Villarrubia create a powerful, yet occasionally lost and world weary heroine in America Chavez. There are punching, one-liners, and even some surprises too, and you should check it out.

Astonishing X-Men #1 has heavy hitting visuals, nuanced characterization, and whiz bang brain action and sets itself up as the flagship X-Men book in one fell swoop.

All in all, Batgirl #45 has romance, some light humor, beautiful art and fashion design, well-selected colors, and is a big turning point for Batgirl/Barbara Gordon's character in Cameron Stewart, Brenden Fletcher, and Babs Tarr's run. Plus there's smooching.

Jeremy Whitley, Ro Stein, and Ted Brandt, and Frank DArmata capture the youthful Saturday morning cartoon energy of superhero comics and the pure power of kaiju movies in Champions #1.MU. Its the sequential art version of red velvet cake and ice cream. Watching Ms. Marvel think on her feet and wrestle a lizard monster with her polymorphing abilities should be the dictionary definition of joy, and I hope to see this talented team collaborate on more young, scrappy teen hero books in the future.

Clandestino#2 continues to show how Amancay Nahuelpan is a genuine comics auteur as he provides the plot, world, and just enough narration to show what makes Clandestino tick as person to go with the explosive visuals, colors, and letters. If you're a fan of the action genre or just a human being with a pulse, who isn't squeamish about ultraviolence, throw your Blu Ray copy of Expendables 3in the trash can and addthis comic toyour pull list.

Hellblazer #6 is a wonderful introduction to John Constantine as a character establishing him as a working class mage, who cares more about occupying his time, paying his rent, and seducing the sexy, bearded bartender at his favorite takeaway joint that being some kind of occult themed superhero. It's very funny and very dark and the best issue of the new Hellblazer so far.

Scott Snyder and Greg Capullo getting the band back together and telling a Crisis-type story is the perfect recipe for some epic comics. Metal #1 features one of the coolest final pages you will read in comics in this year.

Deadman #1 is a nearly flawless, Gothic romantic treat with a diverse cast of characters when it comes to both race, body type (Kudos to Medina.), and sexuality that has chills, thrills, and gorgeous scenery to go along with poignant themes of love, death, and the messiness of relationships. The incorporation of the character Deadman adds a touch of humor and the fantastic to these lofty themes while he also gets to learn more about humanity through his bond with Berenice.

Deadman Dark Mansion of Forbidden Love#3 is an exciting and satisfying ending to a wonderful Gothic romance with exquisite set design from Lan Medina, Phil Hester, and Jose Villarrubia. Each moment that Sarah Vaughn writes featuring Berenice and Sam will give you those happy, goosebump chills that you get when you see two humans that are perfectly matched for each other.

Faith #1 focuses on its protagonist's personal life as much as her superheroic exploits and gives her relatable struggles and problems. It has bright colors, a shocking cliffhanger, and some great pop culture references too for the geek in you.

With memorable art and powerful colors from Darick Robertson and Diego Rodriguez that meld well with the powerful conflict plotted out by Rafer Roberts, Harbinger Renegade #1 is the superhero team book for young people trying to survive in Trump's America. The comic begins on a down note, and there are no big epiphanies or traditional "Avengers Assemble" type moments except for when Faith swoops in and grabs Jay ,which ends up being the beginning of a hasty retreat. Kris, Jay, and Faith's mentors and adult figures have failed them, and they must try to make sense of world filled with surveillance on "subversive" activities and people like the Consortium, who just want to exploit them and use them as lab rats in a selfish quest for power and glory.

Hawkeye #5 is a masterpiece of mystery and snark with a (bigger than a) whale of a plot twist.

Huck #1 is wholesome like a Red Delicious Apple and not saccharine like whatever chemicals they put in diet soda. It's all-American like the smell of your favorite pie or sweet baked like your grandma or freshly mowed grass on a Friday morning before the first high school football game of the season without the jingoism or exceptionalism that has marred this country. (The fact that it was written by a Scottish person and drawn by a Brazilian definitely helps in that category.) Basically, Huck #1 is the most hopeful and uplifting comic that has come out in 2015 so far with a good hearted and admirable main character, a setting that lets Rafael Albuquerque show off the softer side of his watercolor style, and a compelling final page cliffhanger plotted by Mark Millar.

This is the cutest, heckin' comic ever from Kelly Thompson and Gurihuru.

Kieron Gillen, Antonio Fuso, and Chris O'Halloran explore real world problems, like the rise of white nationalism and the United States' uncouth behavior towards its European allies, inJames Bond Service Special, but there's time for fun too. From Jamie McKelvie's very phallic cover, the comic has a lot of cheeky fun through quips, Bond's interaction with his allies, and his gentlemanly behavior under fire. The fight scenes are brutal, but there's always time for a one-liner after bludgeoning and explosions, which is what makes James Bond great compared to his monosyllabic, semi-amnesiac American counterpart…

Jem and the Holograms Annual #1 is part character study, part film homage, and part artist jam and succeeds as all of those by pairing art style and character and movie choice seamlessly. Each character's thoughts and fears about the world tie into their movie choice, and the art style evokes the atmosphere of the film (Rebekah Isaacs), a character's mixed feelings about their life situation (Arielle Jovellanos), a real world problem (Jen Bartel), or happy escapism (Agnes Garbowska). You will come out of this comic laughing at Kelly Thompson's clever film references, squeeing at baby Kimber and Stormer's affection, pumping your fists at the Holograms and the War Rig, and just enjoying the depth of characterization and variety of art styles in this excellent comic.

Kelly Thompson skillfully weaves past and present in Jem and the Misfits #1 establishing their group dynamic through squabbles (And secret hugs between Clash and Pizzazz, who share a warm bond.) and fights. Jenn St.-Onge and M. Victoria Robado bring an over the top rock star flair in the art and colors to in a spinoff comic that is more Angel than Joey. (Even though it has absolutely nothing in common with those TV shows.)

Kill or Be Killed #1 is yet another comic book masterpiece from the team of Ed Brubaker, Sean Phillips, and Elizabeth Breitweiser. It succeeds as both a re-framing of the vigilante genre for the 2010s as an examination of how toxic masculinity poisons contemporary American society, a no holds barred character study, and an example of how changing the layout of a page can drastically change how we view a character.

Kim and Kim#4 has all the wonderful elements that made this series fun, exciting, and hilarious from the great conversations between the Kims to the fast and furious action scenes,and most importantly, the relatable struggles and problems the characters have beneath the sci-fi strangeness. I will miss Mags Visaggio's whip smart writing and adventurous plotting, Eva Cabrera's character/creature designs and fight choreography, and Claudia Aguirre's pinks and justKim and Kimthe comic in general.

This comic is the epitome of radness, and there's a bonus essay from Elle Collins in the back about how LGBTQ characters are paired off in fiction and not given as complex interpersonal and romantic relationships with other queer people. That's obviously not the case inKim and Kim: Love is a Battlefield.

The final issue ofKim and Kim Love is Battlefieldconcludes with an empowering and optimistic essay by Sam Riedel where she asks, “What is the story of your future?” And Mags Visaggio, Eva Cabrera, and Claudia Aguirre end the miniseries on an up note with the Kims finally starting to realize their potential as human beings, friends, and even bounty hunters. It's been a rough journey of violence, emotional baggage, and some pretty rad vehicular warfare, but Kim Q and Kim D come out on top as the flawed, funny, and kick ass queer heroes that I wish I could see more of in pop culture.

Like its protagonists, Midnighter and Apollo #3 is cool, smart, and romantic as both Apollo and Midnighter trade out the usualWildstorm/DC Rebirth vibeof their comicsfor early Vertigo and enter the fantasyworld of magical spells and artifacts and fight beings straight out of a China Mieville novel. (His Perdido Street Stationwas where I discovered the unsettlingepicness of vodyanoi.) Also, where else are you going to see John Constantine described as “tantric”?

Creative fighting, deep introspection, and variety in panel layouts that show comics is the perfect medium forintense action sequences ensure thatApolloandMidnighter#4 continues the series' momentum into 2017. This issue reads like a great tie-in for a long lost Vertigo/Wildstorm crossover, and Midnighter bathing in the blood in demons just to save his man inspires me so much.

Yes, queer characters occasionally get happy endings, and Midnighter and Apollo #6 is a wonderful story of two men, whose love was so strong that they would fight Hell and all its demons just to be in each other's arms. The comic also is a technical marvel with Fernando Blanco's clever layouts and Romulo Fajardo's play of light and darkness showing the contrasts between Apollo and Midnighter while also showing that their differences make them great. Midnighter's determination and Apollo's sense of hope definitely makes them the true power couple of the DC Universe, and hopefully there will be many more adventures featuring them in years to come.

In JLA/Doom Patrol Special #1, Gerard Way, Steve Orlando, Aco, Hugo Petrus, Tamra Bonvillain, and Marissa Louise combine the best of DC Rebirth and the best of Young Animal in one beautiful, oversized package. And as a bonus, Mags Visaggio and Sonny Liew begin to tell the poetic, retro-styled origin story of Eternity Girl in a two page backup.

Under the backdrop of Civil War II, G. Willow Wilson, Takeshi Miyazawa, Adrian Alphona, and Ian Herring craft the story of a teenage girl coming to terms with becoming her own hero as her mentor starts doing things that go against her own beliefs and against the people she has saved time and time again. Ms. Marvel #9 is a real turning point for Kamala Khan's heroic journey, especially after the mysterious final page,which is the counterpoint to the hopeful flashbacks featuring her mother and grandmother in Pakistan.

Hellcat #1 has a diverse cast of characters (Fitting for a Brooklyn set comic.), freely flowing art from Brittney Williams , and has a lot of engaging, real life situations plotted by Kate Leth for readers to latch onto. It's about an unemployed ex-superhero/PI/subject of romance comics and her gay roommate, who just learned about his powers and might not have the greatest moral compass, hanging out and figuring out how to get their shit together. It's definitely the most exciting debut issue of All-New, All-Different Marvel thus far.

Even though it has quirky jokes and fierce style thanks to the dialogue of Kate Leth, the facial expressions and costume design of Brittney Williams, and a palette that uses just the right amount of pink from Rachelle Rosenberg, Patsy Walker AKA Hellcat is a comic all about community building through organic friendships. It's great to see characters go from awkward half-strangers or acquaintances from days past, like Tom who was in the Patsy Walker romance comic many moons ago, to friends in arms and finally, in shopping. That's why it's fitting that Hellcat #17 doesn't end in a cliffhanger or final battle, but an overhead shot of friends spending time together.

And along the way, writer Tom King and his art team of Khary Randolph, Alain Mauricet, Jorge Corona, Andres Guinaldo, Walden Wong, and layouts man Rob Haynes seamlessly inject real world problems and themes, like police brutality, the establishment's disdain for youth culture (Think hypocritical comedian and rapist Bill Cosby's abominably insensitive and classist “Pull your pants up” PSA.), and the influence of class and privilege on people's motivations, actions, and words. It is well worth a read for not just superhero comics enthusiasts, but anyone who wants to stay woke and enjoy a thrilling action story with a well-developed ensemble cast. Plus Damian Wayne is comedy gold as always, especially in his conversations with Jason Todd and Tim Drake.

Shade the Changing Girl#7 is a comic book reading experience that you want to bask in to the accompaniment of your favorite song when you were 17 and wanted to travel the world. ( “Wanderlust” by Metric and Lou Reed does the trick too.) Through beautiful art and poignant narration, Cecil Castellucci and Marguerite Sauvage capture the bitter tang of leaving friends behind to go on glorious adventures inspired by the art we love.

Supergirl: Being Supergirl#1is all about being a teenager in its epic, messy, and yet normal glory that happens to star one of DC Comics' most iconic characters. I can definitely see it ending up in the pantheon of DC's other great “origin” comics likeBatman Year One, Superman Birthright, and Wonder Woman Earth One.It is also refreshing to see teenagers drawn like actual teenagers and have real teenage problems unhampered by heavy-handed metaphors courtesy of the creative team of Mariko Tamaki, Joelle Jones, Sandu Florea, and Kelly Fitzpatrick.

Mariko Tamaki, Joelle Jones, and Kelly Fitzpatrick turn in an authentic, heartbreaking tale of grief, loss, and friendship inSupergirl: Being Super#2 that is honestly one of the saddest comics I've ever read.

The Spirit Corpsemakers #1 is a study in how brush strokes and shifts in color can create suspense and atmosphere and also a damn good start to a mystery from Francesco Francavilla that gives Ebony White some time in the spotlight. And the poster worthy title page (Done in melancholy blue, which happens to be the color of The Spirits outfit.) will have you salivating even before the plot really kicks in.

All in all, WicDiv #22 will give you angry chills and hot tears until November when the "Imperial Phase" arc starts.

I guess the best way to describe WicDiv #23 is that it's the most WicDiv issue of WicDiv that ever WicDiv-ed with something for the inner fan, critic, and artist in you. WicDiv is better than anything on TV or playing in cinemas currently.

Kieron Gillen, Jamie McKelvie, and Matthew Wilson hit that lovely sweet spot between action and characterization in WicDiv #26 while adding a little madness to what is definitely not going to be a straightforward flawed people put aside their differences to fight a greater evil narrative and ransacking character relationships in the process. Also, there's something plain fun about supremely attractive beings (Amaterasu slays with her wing tip makeup.) debating philosophy.

To not end this review on a glib Pulp Fictionreference,WicDiv#31 (Especially the Amaterasu scenes) pairs nicely with “Rabbit Heart” by Florence + the Machine, which is one of the first tracks on Kieron Gillen'sThe Wicked + the Divineplaylist. It'll break your ginger sun goddess loving heart.

I've spent the last five years living, regressing, and sometimes growing alongside these characters expertly crafted by Kieron Gillen, Jamie McKelvie, and Matthew Wilson so emotions definitely run high in The Wicked + The Divine #44 especially in regards to Luci and Laura and Baal and Inanna. But it is one of the most life-affirming comics I've ever read, and I'm glad that we (hopefully) get to see a peek of the lives of Laura and company in the final issue of the series. (That final cover reveal, y'all!!)

Even though I've been in denial since Monday when I read the final issue, The Wicked + the Divine #45 is the perfect ending to the series with Kieron Gillen, Jamie McKelvie, and Matthew Wilson's carefully crafted words and visuals on aging, looking back, and looking to the future. This is a comic that has engaged both my head and heart. Like Ananke, and in this issue, Cassandra say, “I love you. I love you all. I'll miss you.” This comic will always have a beloved place in my heart, and I look forward to rereading, reminiscing, and recommending it into the decades to come even as I begin to look like the characters in this issue.

All in all, this is a comic that everyone from wannabe flappers and pretentious poets to action junkies and mystery readers can enjoy and probably spend the rest of 2018 unpacking.

If you wanna feel sad about death and art and steampunk Mary Shelley, check out this comic.

DC Pride #1 is a fantastic showcase not just for DC Comics' LGBTQ+ characters, but the company's LGBTQ+ creators too as they capture a range of relationships, feelings, sexualities, and gender identities. There's a lot of focus on established romantic relationships, but some of the stories explore activism, community, and the Midnighter/Extrano/John Constantine is a straight up adventure yarn. I enjoyed seeing myself and my queer siblings uplifted in this comic and hope DC can do something more ongoing with these characters, situations, and especially creators.

Doom Patrol/JLA Specialisn't just an entertaining comic that is filled to the brim with hopefulness, it's a paradigm for how superhero stories can be told. Basically, Gerard Way, Steve Orlando, Dale Eaglesham, Nick Derington, Tamra Bonvillain, and Marissa Louise are saying that superhero comics are pretty damn weird, and they can embrace this strangeness, be inspirational and even funny, and not just be grist in the mill of real life Retconns aka their corporate overlords. Because of this, I'm excited to see what Young Animal does next with itsEternity Girl,Shade the Changing Woman,Mother Panic: Gotham A.D., andCave Carson Has An Interstellar Eyecomics that get short, unobtrusive teasers inDoom Patrol/JLA Special.

Archival Qualityhas all the elements from a great comic from Steenz's art that has a distinct style and clearly conveys emotion, humor, and suspense to Ivy Noelle Weir taking time to let characters just be and not rushing their development for the sake of a creepy mystery. Plus it shows that it's sometimes okay to be angry about things, sometimes it's better to be alone than be in a relationship, and introduces a super rad, competent, and queer medical librarian in Holly, who is totally my professional role model as I work on my MLIS.

The waterfall that Natasha scales during the climactic chase scene definitely ended up being a metaphor for my reaction toBlack Widow#12.

If you ever had a secret teenage crush or fell head over heels with a band, artist, or genre of music (Aka most human beings.), you should pick up Hi-Fi Fight Club #1.

Kill or Be Killed#9 is a master class in creating suspense through a non-linear narrative as Ed Brubaker, Sean Phillips, and Bettie Breitweiser use the context of flashbacks to deepen the feeling of terror that Dylan feels, and how close he is to getting pinched/whacked. He is one paranoid drug dealer away from being murdered in his bed, and the varied angles that Phillips uses in his panels unpack this uneasiness as Dylan is royally screwed going into issue 10.

With beautifully staged debates about justice and corruption and a chilling, closing action sequence, Ed Brubaker, Sean Phillips, and Bettie Breitweiser turn in virtuosic shadow drenched and snow blown work inKill or Be Killed#19. I can't wait to see how this grounded lofi (at times) approach to the vigilante genre ends…

As Batman says in King and Gerads' story, “Today, I will get up. Today, I will face their hate… And I will again fight for my love.”Visual and verbal moments like that are why I love comics.

After opening with a gorgeous full page spread of Persephone in all her glory and creating a parallel between Persephone losing her parents and Minerva still wanting to keep hers,WicDiv#18 dives right into the set pieces as the characters that Kieron Gillen, Jamie McKelvie, and Matthew Wilson have been building off get to blow off some steam in an epic way. McKelvie truly makes Persephone the star of the show design-wise while making her simultaneously non-chalant and pissed off at Ananke, and Wilson's color work for her is intoxicating with blacks for the underworld and pinks and greens for spring when she is using her abilities in Valhalla.WicDiv#18 is electrifying reading, and its more quiet final page really messes with the character dynamics and sets up a war, both physical and emotional. No one is going to be okay by time this arc wraps up.

WicDiv #42 made me yelp in an emotional manner. Kieron Gillen, Jamie McKelvie, and Matthew Wilson have turned in stunning bits of plot structure, character arcs, visuals, and palette (Baal vs the Valkyries is a true symphony of color.) in this comic.

WicDiv455 melds the trashy, lavish, and violent aesthetic of the late period Roman Empire with the thought and creativity of the Augustan Age, and there's (maybe) no possibility of it being used as propaganda like theAeneid. Like a passage from theSatyricon, Kieron Gillen, Andre Araujo, and Matthew Wilson meld humanity's basest desires for sex and violence with our highest urges for glory and legacy into a comic book feast that will have you begging for seconds and looking up Emperor Tiberius' recipe for roasted dormouse on Pinterest between rereads.

WicDiv#35 shows that Kieron Gillen, Jamie McKelvie, and Matthew Wilson can play the long game with the best of them while still crafting a story that is a strong on an artistic and emotional level. The Baal and Minerva twists work because readers have had the chance to connect with them and see them form relationships with other characters (And each other). I still don't know how a man who could have such a tender relationship with the now-talking-head Inanna could be such a monster, but it's one of many great questions raised by this comic that have me hooked until the end of the line.

Heavy Vinyl#4 has it all: deep character dives, well-developed romance, organic world building, and a passionate tone from Rebecca Nalty's background colors to Nina Vakueva and Irene Flores' design choices and fight formations to Carly Usdin taking time to show each main cast member with their family. Music is awesome, stories about that are by women are awesome, andHeavy Vinylis one of the best comics of 2017.

Lumberjanes #13 is a great, one-offissue filled with funny and interesting character momenst and showcases Brooke Allen's ability to draw vibrant backgrounds with colorist Maarta Laiho. There also some silent sequences, which shows off slapstick comedy chops. The issue made me fall in love with the Lumberjanes again and lays the foundation for their awesome,lady friendship.

Silver Surfer #11 is an example of a story that could only be done in comics and is a career highlight for both Dan Slott and Mike Allred.

This issue ofThe Fade Outtruly exists in the shadows. In many scenes, Phillips obscures Charlie's face,and colorist Elizabeth Breitweiser mutes her palette in most panels. The light might catch the glass ofa picture frame ora window in the back ofa restaurant, but the charactersare shady in both their motivesandartistic depiction. However, Breitweiser indulges in bright colorsand melodrama for one big scene to show how unrealistic it is compared to the events of the rest of the story. This conflict between realityand facade has been in play throughout the whole series,and The Fade Out#4 brings it toa climax while fleshing out Charlie's characterand backstoryand showcasing Phillipsand Breitweiser's skillat blending the Golden Age of Hollywoodand film noir through theirart.

Batman #50 is both an action packed and a thematically resonant conclusion to the “Superheavy” arc and Scott Snyder, Greg Capullo, and FCO Plascencia's Batman epic. There are a lot of moving parts and MacGuffins flying about in this double sized, definitely worth your $5.99 issue, but Snyder ties it all together through a powerful speech from Jim Gordon about the power of ordinary human beings working together to fix things, like poverty, inequality, and crime. But Batman can only be Batman, and Paquette shows this in the heartbreaking final pages as Julie Madison rebuilds the daycare center that an amnesiac Bruce Wayne built and sadly can't be a part of any more.

Beta Ray Bill #5 is a glorious finale filled with wrestling holds, airbrush on the side of your van-worthy splashes, and some heart and friendship too as Bill's quest comes to a satisfying close. Daniel Warren Johnson and Mike Spicer helped me fall in love with a character that I wasn't super familiar with and also demonstrate how sound effects and the use of color can help turn a fight scene into a story. I look forward to their next project, Marvel or otherwise.

DeLandroalso uses special “window panel” to spotlight oppressionand the male gaze in different parts of the comic. For example, he uses these panels to show the guards' reaction to the prison riot, which isa source of entertainmentand titillation for them, reminding me ofa scene ina TV show featuringa certain orphaned future superhero that played it completely straight. With its dynamic characters, innovativeart,and immersive world,Bitch Planet#1 is the feminist slap in the face the world needs right now. Men's rightactivists, Gamergaters, dudebros, or whatever “clever” parlance youassholes are describing yourselves ascurrently, beware!

Even though it's set in a dystopia,Calexithas its triumphant moments. It's a hopeful comic, not a defeatist one as proud as the logo of the Mulholland Resistance that seriously needs to be made into a laptop sticker or T-shirt.Itis meticulously crafted in worldbuilding, background art, and color choices by Matteo Pizzolo, Amancay Nahuelpan, and Tyler Boss and is a comic that pokes fun at summer blockbusters while having many “Viva la Resistance” kind of moments and directly opposing Trump's cool regime and terrible treatment of anyone who isn't a rich, Christian white man.

Calexit #3 definitely has a "hell yeah" ending, but it also brings up a lot of questions that aren't "Is Crowbar going to catch Zora?" because you know that guy is definitely mini-boss material.

The combination of character study from Way and Rivera with exemplary storytelling and atmosphere from Oeming and Nick Filardi and just a touch of Silver Age whimsy are a few reasons why Cave Carson #1 is my favorite Young Animal comic so far.

The more cartoonish backup with art by Byron Vaughns andCarrie Strachanruns a few of its jokes into the ground, but has a hilarious Calendar Man cameo. However, it's a nice relief after in-your-face crime noir with a side dish of lisps and hunting metaphors.

Doom Patrol#7 is a statement of this comic's freedom from ordinary superhero storytelling using Niles Caulder as a metaphor with vibrant wit and an idea a minute plot from Gerard Way and transformative art from Mike Allred and Laura Allred. Old white guys usually don't know best even if they can regrow limbs in a jiffy or travel between dimensions, and sometimes trying some weird and creative can be more fun than reading the same, “To me *insert old superhero team name here*” over and over again.

Orlando and Byrne don't shy away from showing Ray's suicidal ideation as a kid in Justice League of America: The Ray#1when he thinks that going outside and possibly dying is better than a life of isolation. However, Ray's story is inspiring because he overcomes his loneliness, sadness, and isolation to become a great hero even though he still had bad days. I love how his favorite fictional characters got him through some hard days as both a kid and a young adult, and especially can't wait to see how he fits in the new-look Justice League of America. All in all, Ray Terrill is another great addition to DC's pantheon of LGBTQ superheroes.

Rad action, check. Funny one-liners from Mags Visaggio, cool fashion choices (Especially in the sunglasses department) from Eva Cabrera, and a pleasing color palette from Claudia Aguirre, check.Kim and Kim: Love is a Battlefield#3 expertly melds entertainment with emotional honesty, and I can't wait for the miniseries finale and for Kim Q and Kim D to do their team up against a super evil ex girlfriend thing and maybe find a little closure along the way.

InLake of Fire#1, Nathan Fairbarn and Matt Smith create an almost perfect fusion of historical fiction and action-packed science fiction. The comic deconstructs medieval romances and grips with the age-old battle between idealism and cynicism while also having some epic scenes of crusaders jousting against aliens courtesy of Matt Smith, who cuts loose with biting action choreography and a flurry of gore. It's a feast for both historical scholars, action junkies, or any aficionado of stories that involve contradictory personalities trying to work as a team.

Come for the punching and one-liners, but stay for the messy, yet star-crossed relationship between Midnighter and Apollo, who are truly DC Comics' power couple.

Mister Miracle #1 is character-driven, visually innovative comics at its finest and continues the time-honored Jack Kirby tradition of giving godlike heroes feet of clay.

Jody Houser, Shawn Crystal, and Jean-Francois Beaulieu put Violet Paige's ultraviolent crusade in psychologically scarring context inMother Panic#5, which will make you want to give Mother Panica hug before she pushes you off her and tells you to “Fuck off” before disappearing into Gotham's dark night.

Ms. Marvel #1 is a delightful smorgasbord of superhero action, sweet romance, bright art, and has a strong, yet fantastical connection to real world issues. G. Willow Wilson, Takeshi Miyazwa, and Adrian Alphona craft a first issue that is both exciting and heart wrenching as Kamala Khan starts to take steps into being a more responsible and mature superhero and human being in both her actions and interpersonal relationships.

Ms. Marvel #13 is a light bit of progressive superhero fantasy in a world that desperately needs it. It's the 2016 equivalent of the famous 1940Captain America Comics #1 cover, which featured Cap punching out Hitler, but its post-Election Day release date makesthe comicbittersweet.

Hellcat #2 is cute, funny, painfully relatable, and even sets up possibly the raddest superhero team-up ever in the next issue.

After Hellcat#3, it's safe to say that I'm a (Hell)kitten, and this comic is my warm milk (I would have said catnip, but that's even self-indulgent by my standards.) thanks to its varied colors from Megan Wilson, adorable art and zippy storytelling from Brittney Williams, and a thematically robust, joke filled writing. Watch out for a great Jessica Jones Easter Egg too!

With soothing and energetic art from Natasha Allegri and a script filled with friendship and action from Kate Leth, Hellcat #7 is a reminder that superhero comics can be fun sometimes. This issue is also a great jumping on point for new readers as Leth and Allegri deftly establish the main cast's dynamic and personalities on the really long commute to Coney Island.

Stealthily,Thanos Annual#1is just a great collection of intelligent and darkly humorous sci-fi shorts that just happen to take place in the Marvel Universe. It features some of its most clever writers and artists that have an eye for both humor and violence on a large and small scale and makes you realize that reading stories about Thanos is like staring into the abyss or being one of those dumbasses that looked at the solar eclipse without those special glasses.

WicDiv #13 works as a deeply emotional character study and a showcase for Tula Lotay's wavy lines and play of colors while berating humanity in general's horrible of treatment of women, both on the Internet and in real life. Kieron Gillen uses the character of Tara to launch a frontal assault on journalists who treat women as sex objects (Fuck you, Daily Mail and every beach body issue of whatever celebrity rag folks are buying these days.) and brings the light of day to the darkest dregs of fandom. Sadly, some tone-deaf misogynist will slut shame a Tara cosplayer at a future comics convention, but he will be condemned by the text that he claims to love and understand.

WicDiv #16 seamlessly blends Morrigan's current captive state with her past as the vampire roleplayer Marian through a shared color palette from Mat Lopes, a rich attention to detail from Leila del Duca, and Kieron Gillen's purposefully overwrought Late Victorian dialogue with a touch of id whenever Badb gets to speak. Gillen uses the classic vampire metaphor to explore mortality and death with his own characters while giving them unique personalities and voices of their own. He also steps up his pun game on the final page cliffhanger, which sets up a war between Baphomet and the rest of the gods with Morrigan's role in the proceedings left ambiguous as she is the perfect blend of angry and a little overjoyed to see Baphomet's face in ketchup and hamburger.

But WicDiv #43 isn't the final or even the penultimate issue of the series so it's not that easy, and the final page is dynamic and a reminder of with whom and why I fell in love with the series five years ago as I took a leap of faith and signed up for that John Milton elective class.

Once and Future #1 modernizes and humanizes the classic Arthurian legends by making the protagonists of the story that kind of nerdy, cute guy who says smart things in the back of a college class and his tough, no-nonsense grandma that's been through some stuff. Kieron Gillen bolsters his quest plotline and monster fights with character-based humor and sociopolitical commentary while Dan Mora and Tamra Bonvillain bring an infectious energy with just a touch of darkness to the visuals. To cut it down to its core, Once and Future #1 entertains as just as well as it enlightens and uses myths and legends to bring hope to a world in need of salt of the Earth heroes like Bridgette and Duncan.

WicDiv#32 is a true companion to the universe shattering, plot demolishingWicDiv#31, but Kieron Gillen either tapers off or adds elements to character arcs to go with Jamie McKelvie and Matthew Wilson's fireworks or quiet artistic moments. With the deaths of Dionysus and Sakhmet, a lot of rage and serenity has exited the building along with WicDiv‘s respective superego and id, but my excitement for the “Imperial Phase Part 2” conclusion has definitely increased.

Even if you haven't read Afterlife with Archie, this issue is worth picking up as a commentary on female-driven pop music in the 20th and early 21st century through the lens of the vampire genre as Josie and the Pussycats use their transformation to seize power over their own lives and not be exploited by men, like Uncle Buddy, who skimmed off their profits, and married their former band member Pepper. And Francesco Francavilla shows why he is the maestro of comics art with his ability to capture a range of emotions and situations from four girls rocking out at a concert to shots of wholesale slaughter and close-ups of beautiful and dangerous vampire eyes that Bela Lugosi would be proud of.

Gilbert Hernandez's art is one of a kind, Tini Howard combines domestic drama with grindhouse film thrills a la a the opening scene ofKill Bill Vol. 1, and Rob Davis' colors are brash and bold.Assassinistas#1 is the tasty comic book dessert you deserve for getting through 2017, and it's cool to see a genre comic centered around a mother/son relationship that deals with both big guns and pointy weapons as well as finances and bringing your boyfriend to see mom for the first time.

Dazzler X-Song#1light show visuals from Laura Braga and Rachelle Rosenberg that perfectly fit a book starring Alison Blaire and a strong message of pride and intersectionality from Magdalene Visaggio. It shows that cool mutant/Inhuman powers, social commentary, characters arc, and sassy humor can co-exist in one great comic book. Now, I need a follow up comic where Alison meets Karen O…

Whether you've been reading the title since 1961 or this is your first FF adventure,Fantastic Four#1 is definitely worth your $5.99.

Giant Days#26 is a comic where a character's reaction to a gross, green smell can lead to a chuckle or full out laugh thanks to the humorous art of Max Sarin, Liz Fleming, and Whitney Cogar. John Allison also continues to be a master of telling a story with a largecast by focusing on small groups of characters in the beginning and paying off with big moments in the end like a skilled sitcom showrunner. This comic is worth picking up for seeing Daisy as a unicorn alone.

Gryffen #1 is a sci-fi comic that is both immensely entertaining and sociopolitically relevant. Lyla Gryffen has plenty of attitude, and it seems like Ben Kahn is having the time of their life writing them. Throw in Bruno Hidalgo's in-your-face colors and pulpy, gory artwork, and this is the summer punk rock sci-fi spectacular that you wish Hollywood had the balls to make.

Hawkeye #1 is as beautiful asa sunset on Zuma Beach (Aka you should visit there on yournext trip toSouthern California.)and also satisfies on the wit, superhero action, and P.I. mysteryfronts too thanks tosome creative synergy from Kelly Thompson, Leonardo Romero, and Jordie Bellaire. Intrigue, sass, and complex, yet simple to follow page layoutscreate awinning comic book combination.

House of X #2 seamlessly works at two levels. On one level, Jonathan Hickman and Pepe Larraz are telling the life story of Moira MacTaggart, who has played a pivotal role as a bridge between humans and mutants for decades of comics, and what you think about her is all wrong. Finally, on a macro level, they craft several visions for how the relationship between humans, mutants, and machines plays out and begin to provide a reason for why the world is like it is in House of X #1 and how it ends up in Powers of X #1.

After an action heavy penultimate issue, Ed Brubaker, Sean Phillips, and Elizabeth Breitweiser useKill or Be Killed#20 to play around with traditional narrative expectations and look at how life is both terrible and precious from a beyond the grave perspective. And, in closing, Dylan's vigilante activities were definitely not commendable, and he needed psychiatric help much earlier than the final arc, but he made some excellent social observations throughout the series.

Merry Men #1 has all the thrilling heroics and swashbuckling of an Errol Flynn (Not a Russell Crowe or Kevin Costner.) film with a fun cast of gay, bi, and trans characters, who have different body types and attitudes to the world around him. It is a book that as a bisexual man, who grew up reading the stories of King Arthur, Robin Hood, and Greco-Roman mythology before I ever picked up a comic book have been waiting for my entire life. As an added bonus, there is a two prose story about the real LGBT people of the Middle Ages starting with Alcuin, a scholar in Emperor Charlemagne's court, who was a part ofthe (Carolingian) Renaissance way before it was cool.

Midnighter#12 is a wonderful capper on Steve Orlando, Aco, Hugo Petrus, Romulo Fajardo, and other wonderful artists' story of a man trying to maneuver through the world and find his identity as both an open gay man and science experiment turned violent, yet altruistic anti-hero. The final two pages of him kissing and talking to Apollo about his uncertainty for the futureand leaping into action perfectly encapsulate the character of Midnighter, who is a total badass that struggles to navigate the minefields of romantic relationships.

The ending of Nighthawk #6 is both bleak and satisfying, and it will be interesting to see what David Walker does with the character in the upcoming Occupy Avengers title.

Sex Criminals#16 reminded me of why I loved this series when it first started out in 2013, which is Matt Fraction and Chip Zdarsky's complete honesty about sex and relationships while still having some hilarious background gags from Zdarsky and an eccentric supporting cast, like the Alix who compares Jon to Don Quixote, and villains.

The Impending Blindness of Billie Scott is a glorious and heart-rending look at creativity and relationships via the care-filled art and poignant writing of Zoe Thorogood. It shows all the bumps and bruises on the way to finding a found family and really captures what it's like to deal with some life changing shit and come out pretty okay on the other side. I definitely look forward to checking out Thorogood's future comics after being truly touched by this one.

In the spirit of Urdr, Kieron Gillen, Jamie McKelvie, and Matthew Wilson get to the truth about who Woden is and the Great Darkness inWicDiv#33 using the shadows and claustrophobic spaces of Valhalla with splashes of eight bit menace to provide an emotionally draining reading experience. There are a decent amount of cards still on the table, but the chess board has turned into a pit of hot lava lorded over by an entitled abusive fanboy as Gillen and McKelvie cross the proverbial Rubicon and make Woden, the literal patriarchy

WicDiv#40 is part jaw dropping arena show and vulnerable singer song writer gig with Kieron Gillen, Jamie McKelvie, and Matthew Wilson spending plenty of time developing and exploring the personalities of the fans of the Pantheon, and how the gods have an effect on their lives. With Minerva's master plan subbing in for the murder mystery, it's a throwback to the original arc where Gillen, McKelvie, and Wilson slowly revealed the gods' personalities and action through the POV of ultimate fangirl, Laura. There are murderous Minerva asides and heartfelt Baal self and family confessions, butWicDiv#40 gives a fresh non-insider perspective on the Pantheon before things get all opening sequence of recent Zack Snyder films. (This is not a complaint.)

However, this hope could all die in a moment. But, at least, we got to hear from Luci and Inanna (And fucking Tara!) before the end so be sure to drop the needle or hit the play button on a Bowie or Prince album while reading this comic.

Ultimates #12 ties up the loose relationship ends, especially concerning Captain Marvel and makes final remarks about predictive justice so that Al Ewing and Christian Ward can tell a full blast cosmic epic in the next volume of the series. By the time, you turn the final page, it is guaranteed that you will be a Galactus fan.

Two issues in, and Tate Brombal, Jeff Lemire, Gabriel Walta, Jordie Bellaire, and Aditya Bidikar's Barbalien: Red Planet is easily my favorite story set in the Black Hammer universe (Black Hammer '45 is fantastic too.). It's the one I've been able to personally connect to. It's a soul-searing character study for Barbalien/Mark Markz/Luke, and how he struggles with his identity and place on Earth/Spiral City while also centering the role of BIPOC in LGBTQ+ activism during the 1980s and telling their stories as well. And it does all of this with a superhero secret identity/shapeshifting twist.

Daredevil #1 is the dark, tortured, Old Testament God take on the Man without Fear that we deserve from Chip Zdarsky, Marco Checchetto, and Sunny Gho. You should read this comic instead of signing those silly Change.org petitions to bring the Netflix show back.

Deathstroke #11 is an intelligent, tightly plotted, and well-researched piece of vigilante fiction from Priest, Denys Cowan or the comic book equivalent of the 1995-1996 Chicago Bulls starting lineup It's worth picking up even if you don't know your Deathstrokes from your Deadshots (Or Deadpools.) and rewards rereading.

As a book, Eternity Girl #1 is nestled in anice nichebetween artsy indieand superhero comic, butleaning more towards to the artsy side thanks to the fragmented nature of Magdalene Visaggio's plot and Sonny Liew's art plus scattershot, intergalactic colors from Chris Chuckrytowards the end. However, Visaggio, Liew, and Chuckry use this niche to honestly probe and explore the feelings that come with depression and create opportunities for connection and empathy in regards to mental health through this engaging comic book. Because sometimes you don't fear death, you long for it…

Ghosted in L.A.‘s creative team fires on all cylinders in this issue. The book is a wonderful fusion of memorable character designs and facial expressions, well-paced plotting (Daphne discovers the ghosts after she hits rock bottom.), and a protagonist that is easy to connect to. Sina Grace and Siobhan Keenan explore the universal themes of loneliness and belonging through Daphne's specific trials and tribulations with L.A. and a (mostly) kind family of ghosts as the backdrop. It's what I want out of a good magical realism story. I can't wait to learn more about Daphne and the world, no, the community that she has joined in this adorable comic.

IfJosie and the Pussycats#4 was a pop song, it would be one with an infectious melody, glossy production, and intelligent lyrics like the adopted love child of Marina Diamandis and Florence Welch with just a dollop of Beyonce. Josie herself is the comic book equivalent of Lana Del Rey with her sad eyes, well-coifed image, and deep reference pool.

Jody Houser, Crystal, and Beaulieu add new layers of kindness and darkness to Violet Paige in Mother Panic #4, and the issue functions as a great study of how people interact and behave in different contexts with a side dish of gadgets and punching because this is Gotham City after all.

Red Sonja#13's tongue in cheek sense of humorapplies to its villainas well. Gail Simone makes Kalas-Ra speakall his dialogue in the third person while referring to himselfas “one”and being simultaneously creepyand pathetic. Geovani gives hima comical cone hat, which contrasts with magical symbolsand the blue lightof his staff. Lucas softens the colors of his clothing, but gives his magic staffan ethereal sheen. This mixed imagery and writing for Kalas-Ra gives hima little bit ofa mystery, which is expounded upon throughout the comic,anda nice part ofa comic which takes its hero to some dark places, but keeps its sense of humorandadventure intact.

The Joker Annual 2021 is a masterpiece of day-glo crime storytelling from Francesco Francavilla, who can create tension from a flashlight or a cigarette butt as well as James Tynion and Matthew Rosenberg, who continue to flesh out Jim Gordon and his relationship with his daughter Barbara and the clown prince of crime. Like Joker #5, this comic easily stands on its own, but also adds context (Aka emotional scarring) to Gordon's actions as he haphazardly tries to create his own system for taking out the Joker while keeping his soul intact.

The debut is steeped in the classic O'Neil and Cowan run as well as the ideology of Ditko. Lemire, Cowan, Sienkiewicz, and Sotomayor make sure The Question: The Deaths of Vic Sage #1 isn't a nostalgia-driven retread. In a current era where political corruption runs rampant, and the said corrupt don't even try to sweep it under a rug, a character who isn't afraid to speak truth to power is incredibly relevant.

Unbeatable Squirrel Girl#26 is a real treat as independent cartoonists, the creator ofGarfield, and even the book's colorist get to take a stab at some of the more familiar faces in the Marvel Universe while also giving Squirrel Girl's supporting cast a moment in the sun. It's sometimes poignant and always funny.

The book is a nice entry point for fans of Catwoman in other media (Especially Zoe Kravitz's performance in The Batman) or for seasoned comics readers who want a little characterization to go with the leather outfits, acrobatic fight scenes, and jewel nabbing shenanigans.

Bravest Warriors#28 has very few problems beyonda possibly out of character moment for one of the Warriors towards the end of the bookanda couple of unclear panels during the big fight scene. Kate Lethand Ian McGinty balance different types ofaction (not just punching), flurries of humor,and one touching romance. In her writing, Leth focuses on the most important themes ofall,like loveand friendship in spite ofadversity. McGinty fleshes out these themes through how he depicts characters reacting to events in the story. If you enjoy kaiju movies, want to read one of the funniest punsin comics this year, orare looking fora genuine LGBT love story (orall three),Bravest Warriors#28 is the book for you.

Giant Days #1 is another great all-ages comics from BOOM! Studios that's silly, snarky, and filled with heart. Even though they have little fights and drama, Daisy, Esther, and Susan share a strong rapport and actually seem like friends. Giant Days has the laughs of your favorite sitcom mixed with a slapstick/realist visual style that can only be realized in the comic book medium. Buy a copy for yourself and another for your room/flatmate!

Nameless#2 isa tasty mixture of primal magicand futuristic technology, genre fictiontropesand Biblical prophecy,and ultimatelyfearand hope. Thisasteroid Xibalba hasa mysterious backstoryand purpose that is hard for the characters (and occasionally) the readers to grasp, but some of the crew ofWhite Valianthasa semblance of hope to beat it back. This kind of darkness witha shred of hope has been found in most of Grant Morrison's masterpieces ranging fromThe InvisiblestoFinal Crisis,and Chris Burnham matches this overarching theme with hisart that can wallow in the filth of humanity or revel in itsachievements.

To sum it all up, Superman and the Authority #1 is about the failure of the supposed Age of Aquarius as Morrison, Janin, and Bellaire turn from smiling, well-hewn Superman to a half-naked Manchester Black surrounded by detritus and targeted by the mooks of American imperialism. But there's always hope even the more commercially successful superhero team failed in their mission to make the world a better place.

4 Kids Walk into a Bank#1 is a painfully funny return to the awkwardness of middle school wrapped around a crime mystery story that is just beginning to heat up. It's like if you dropped the cast of Freaks and Geeks sans stoners into the middle ofReservoir Dogs.The pre-teens are overmatched for the most part, but they occasionally triumph, and it's pure catharsis every time, like when Berger uses his trusty slingshot to shoot his DnDcharacter, the orc warlord Crotch, at one of the gangsters in retribution for sucker punching Paige.Writer Matthew Rosenberg's adolescent characters actually sound like twelve year olds instead of younger looking adults, and artist Tyler Boss' clever use of layouts make for a pleasing reading experience with lots of visual comedy. With the characters introduced and fleshed out, the real fun is ready to begin.

Action Lab: Dog of Wonder#1 is the feel good comic of the month. Read it to your younger sibling, your dog, or just read it yourself and find a ray of hope in the smile of Action Lab himself and his selfless pursuit of helping dogs, who have been neglected by their owners even if it goes against the letter of the law. And even if the comic looks like a straightforward superhero story with dogs instead of people, Vito Delsante and Scott Fogg add some shades of grey in the characters of Action Lab's antagonist (for now), Clancy Jackson, who comes across as a jerk, but really cares about the dogs of Canaan City.

All-New Wolverine #1 confidently establishes its premise, visual style through the slash-style layouts of David Lopez, and even comic relief in the interactions between Angel and Laura. Writer Tom Taylor and Lopez show Laura Kinney own the mantle of Wolverine as soon as she pulls off her overcoat and wears his original blue and yellow costume in the crowded streets of Paris with colorist Nathan Fairbarn blending the costume's yellow with the twilight skyline. All-New Wolverine #1 acknowledges X-23's past while laying the foundation for her redemption-tinged rise to the name and costume of Wolverine and has a freshness that hasn't been present in a Wolverine comic since he was wandering around a barren wasteland fighting in-bred Hulks.

To quote the comic itself, if you like “slaying monsters, the patriarchy, and extra large pizzas” plus heart wounding feelings and art that is the polar opposite of house style,America#5 is the book for you.

Angela Queen of Hel#7 gives Angela and Sera the beautiful and well-earned happy ending that Marguerite Bennett has been building up during her entire run on the title. She and artists Kim Jacinto and Stephanie Hans also round off Leah's character nicely, especially in the sub story, which acts as a glimpse of possible storylines if theAngela Queen of Helwill be missed not only for having Marvel's best example of a same gender relationship and LGBT representation, but also for being one of its funniest and gravitas filled books.

In Batman #50, Tom King, Mikel Janin, June Chung, and a talent group of guest artists craft the ultimate, tragic Batman love story and show the chemistry between Bat and Cat while also showing how their marriage ultimately wouldn't work out. This definitely isn't a big, guest star heavy special, but an intimate story of a man, who decides to work out his pain and sorrow dressed as a bat instead of finding love and peace with an enigmatic woman, who dresses like a cat.

Batman and Robin Eternal #1 is a genre spanning (superhero and possession horror), kick in the pants start to this weekly comic event. Scott Snyder and James Tynion set up a creepy, overarching storyline for the series by exploring the tragic side of being a Robin. (They don't usually get out alive.) Artists Tony Daniel and Sandu Florea use speed lines, little circles, and every tool in the action cartoonist's toolbox to give the comic a hyperactive feel as the various Robins swing, kick, and ride into action while wisely utilizing full page spreads for surprise reveals that burst the nostalgia bubble of “Batman and Robin forever”. By the end of Batman and Robin Eternal #1, readers will see the relationship between the Caped Crusader and his various sidekicks in a new, complicated light.

Beta Ray Bill #2 is a rare opportunity to see an auteur cartoonist put their mark on an in-continuity, mainstream comic, and Johnson makes me both emotionally connect with Bill's personal journey while also rocking my socks off with his approach to humor, page design, and fight choreography. Bring on the next three issues as well as the latest addition to Bill's space adventure party.

Choosing Sides #6 is a testament to the range of stories that can be set in the Marvel Universe. Hint: they don't all have to be superhero slugfests.

The Dark Knight III #1 is the best comic with Frank Miller's name on it since 2000, a showcase for Andy Kubert's growth as a sequential storyteller , and also a bloody playground to explore both social issues and burning questions about the nature of heroism.

Should I read this comic? Yes, you should. In a time when everyone and their mom is doing a high concept sci-fi comic, Ei8ht #1 is a unique riff on the genre with its mysterious "Meld" setting, an incredibly likeable protagonist, and Albuquerque applying his thick pencil and ink work to futuristic sci-fi. Plus there's a dinosaur.

Getting It Together #3 continues the dramatic escalation of the previous issues while providing insight into Lauren's creative drive, Jack's relationship issues, and Sam's mental health. Sina Grace and Omar Spahi's writing continues to be sharp as ever, and they hit that drama/comedy sweet spot. Jenny D. Fine and Mx. Struble continue to provide expressive, DIY style visuals while experimenting with layouts and finally descending into utter madness and fluidity during the drug trip sequence. Struble adds that extra bit of emotion to the musical performances in Getting It Together #3, which was a skill that they demonstrated in on their previous work with Grace on Lil Depressed Boy even if this book doesn't have any AJJ or Childish Gambino cameos.

While building on her dad's sorry plight in the previous, John Allison, Max Sarin, Liz Fleming, and Whitney Cogar do something a little different withGiant Days#25 by looking at family drama instead of friendship from the POV of Susan Ptolemy. She cuts a heroic figure in trying to save her parents' marriage, but solving other people's problem doesn't end her own, especially if they involve McGraw.

Goldie Vance #1 is rooted in the teen detective genre, but Hope Larson and Brittney Williams put their own spin on it through their charming setting and a sparkling cast of characters. Goldie also has an interesting moral compass in that she will not just bend, but break rules to help solve a case, like flat out stealing a hotel guest's car to win the necklace back. All in all, the comic is a really fun read with energetic art, staccato dialogue, and several hooks that will have you pre-ordering the rest of this four issue miniseries.

Gotham Academy #11 is an example of Brenden Fletcher, Becky Cloonan, Karl Kerschl, Msassyk, Serge Lapointe, and flashback artist Mingue Helen Chen firing on all cylinders from the fiery, panoramic views of Gotham City to Maps' infectious passion for all things Bat- and adventurous and even the sad, quiet moments as Olive ponders whether she will be insane and evil like her ancestors. It's a wonderful brew of adventure, both animation and painted-style art, and a little bit of commentary on the not-so-heroic side of Batman and Robin mixed with a dark look into our heroine, Olive Silverlock.

Kelly Thompson, Leonardo Romero, and Jordie Bellaire pull out all the cool archery move/surprise superpower/generally badass stops in Hawkeye #16, which reads like the third act of a particularly thrilling buddy action movie. However, it's not entirely caught up in the cool, and Kate finds a little bit of closure with her whole supervillain dad/dead (Or not so dead) mom situation thanks to the help of her new friends in L.A.Kate Bishop, thebest Hawkeye,might not have the best life, but she does have a pretty good one.

In its second installment,Hi-Fi Fight Clubplays to its strength as Carly Usdin, Nina Vakueva, Irene Flores, and Rebecca Nalty make their focus on Chris and her potential romance with Maggie the centerpiece of her story to find identity through her music fandom and nascent vigilantism. And the art and colors continue to be a treat with fluid action scenes, riot grrl poses, and plenty of longing glances and general feels whenever Vakueva and Flores draw Chris looking at Maggie.

The first arc of Kelly Thompson and Mattia De Iulis'Jessica Jonesrun has been a master class in three act storytelling with issue one introducing Jessica's case, premise, and putting in her dire straits,Jessica Jones #2doling out information about the serial killer revel and putting her even more dire straits, and who knows what issue three will bring. As well as being a compelling mystery, Jessica Jones#2 explores its title character's guilt, acumen for detective work, and continued fight against toxic masculinity that happens to involve superpowers. It also has enjoyable scenes of humor and action, especially when Elsa Bloodstone is involved.

With its visual flair courtesy of artist Caitlin Rose Boyle and colorist Mickey Quinn and a lead character that is part passionate fangirl and part misanthrope,Jonesy#1 is one of the most fun new releases of 2016. Boyle and Quinn go haywire with the artwork as Jonesy works her romantic magic on her high school while writer Sam Humphries keeps the story grounded in the struggles of growing up, like getting rejected by peers and the heartache of young love, while being quick with a quip.

In Jughead: The Hunger#1, Frank Tieri, Michael Walsh, and Dee Cunniffe exaggerate Jughead Jones' defining characteristic and turns it into something horrifying. Without his humanity and sense of humor, he's just a creature of pure appetite and id and makes for a great villain in a horror story. And Walsh takes Jughead'seating habits, which usually a cute, running gag and turns it to something disgusting as Reggie remarks early on.

Kane and Able is a 76 page reminder that comics can be a hell of a fun time. Shaky Kane and Krent Able bring their distinct visual sensibilities to tell over the top genre-melding stories that might have something a little deeper to say about the creative process or the power of comics, or because a bear with two chainsaw wielding babies on his shoulders fighting giant cockroach women in fetish gear will always be epic.

Kim and Kim #1 is the perfect comic for readers, who like their science fiction action-packed, character, and not sanctimonious. Mags Visaggio, Eva Cabrera, Claudia Aguirre, and letterer Zakk Saam pack each panel with a great joke, intriguing mystery, detail about the wacky world around them, or best of all, a badass fighting move. If you like comics with multi-faceted female queer leads, immersive worlds, fun color palettes, or a mix of both, look no further than this book yet another in-your-face hit from Black Mask Studios.

Kim and Kim: Love is a Battlefield#2 combines soul searing friend chats about relationships past and present with ass kicking, interdimensional travel, and a fierce fashion aeshetic. Mags Visaggio, Eva Cabrera, and Claudia Aguirre continue to do fantastic work crafting one of the most complicated, funny, and plain awesome female friendships in comics.

Lumberjanes #16 fills in a lot of gaps in the Camp for Hardcore Lady Type's past while setting up a danger and monster filled climax in the present. Noelle Stevenson and Shannon Watters continue their excellent character work with Bear Woman, Rosie, and especially Jen while bringing them and the Lumberjanes together for the final showdown. But the real highlight of this issue is the versatility of Brooke Allen as an artist and Maarta Laiho as a colorist as they go from the past to the present with some Were-mooses, group hugs, magical transformation sequences, and explosions along the way.

Lumberjanes is a comic about using the power of friendship to defeat whatever physical and mental obstacles nature throws in your path. Issue 17 is no exception, and writers Noelle Stevenson and Shannon Watters and artist Brooke Allen look at the messy side of friendship as Jo gets jealous of Barney playing a too active role in their fight against the Grootslang and Rosie and Abigail continue to be estranged. And there is still the humor (Mostly Ripley and Jen's reactions to things.), adventure, and lush wilderness setting that continues to make this series crown jewel of all ages comics.

Midnighter #6 is exclamation point after exclamation point with jaw busting action and intense layouts from ACO, colors from Romulo Fajardo that punctuate the big moments in the issue, and a loose, emotional script from Steve Orlando loaded with amusing one-liners and some backstabbing reveals. Reading Midnighter is like getting a new action movie each movie with a well-developed gay protagonist, who is both confident and vulnerable.

Midnighter #7 is a kick in the teeth as well as a kick in the feels. Steve Orlando uses the character of Prometheus to provide a counter point to Midnighter's unsung, ultraviolent heroism with his desire to take out justice through its symbols: superheroes. And along the way, ACO, Hugo Petrus, Romulo Fajardo, and Tom Napolitano make this fight the toughest of the series so far with close-ups of the punishment Midnighter takes, bold lettering, and lots of red. But this isn't just a fight issue, and Orlando portrays an emotionally honest and open Midnighter, who is really striving to connect with people even though they always seem to bite him in the ass in the major way. These intimate conversations complement the up, close, and personal style of his fight with Prometheus, and make Midnighter #7 a more than satisfying end to Steve Orlando's first full storyline with one of the most emotionally complex and thrilling LGBTQ characters in comics.

Midnighter #10 puts the anti-hero in the middle of a kind of superhuman Cold War, and he must weigh his options in working for a variety of morally ambiguous or downright amoral organizations. He picks Spyral for now because they are his employer even if he lines up more ideologically with Amanda Waller. Just like Waller uses supervillains to accomplish good things in messy ways, Midnighter uses his God Garden enhancements to help people in extremely violent ways. Throw in some great humor from Midnighter and the Suicide Squad members, an intersecting narrative involving DC Universe black ops organization and a superhuman arms race, and detail studded pages from ACO and Hugo Petrus, and Midnighter #10 is a shining example of why this title is one of the best comics in the action genre. And it literally goes out with an orange bang courtesy of colorist Romulo Fajardo Jr.

But beneath the colors, the kick-ass fight scenes,and Bendis'witty dialogue is its sad, yet powerful emotional core. Everyone has had someone they love hide secrets from them even if they're notas dramaticas beingan iconic superhero or the member ofan evil secret society,and sometimes love can't overcome this.Miles Morales#11 tells this story with crisp digitalartand colorsandas part ofa superhero conspiracy plot with some touching moments that make this issue memorable.

Motor Crush#2 is set in a universe similar toSpeed Racerwhere a main sporting event can mean fortune or fame to its inhabitants, and the comic has loads of visual panache like the Wachowski Sisters' 2008 film if its main character had addiction problems and angered motorsports obsesseddrug cartels. But between the kicks, chases, and Mexican standoffs, Cameron Stewart, Brenden Fletcher, and Babs Tarr explore the glorious depths of their broken, yet badass protagonist Domino Swift because motorcycle riders have lots of feelings too.

Basically,Occupy Avengers#1 is a 21st-century take on Denny O'Neil and Neal Adams' “Hard Traveling Heroes” run of Green Arrow/Green Lantern, but with a lot more nuance and intersectionality thanks to its diverse creative team.

Hellcat #5 is an explosive ending to the series' first arc as Patsy and her friends get a nice win against Casiolena, but she has a lot to learn as she balances her life as a superhero with her actual job at Tara Tam's tattoo parlor, the court case with Hedy, and hanging out with friends. But she has a great supporting cast that writer Kate Leth has fleshed out throughout the first five issues, bright and bouncy art from Brittney Williams, and intense colors from Megan Wilson so she has a great shot at overcoming this obstacle as well. Plus the final two pages have my third favorite Marvel character in it and will definitely make you sad that the next issue is a month off.

Hellcat#9 is a flat out fun read as Kate Leth, Brittney Williams, and Megan Wilson put Hellcat and her friends through the wringer while also letting them live a little and enjoy life. There's action, comedy, romance, plenty of cuteness, and a cliffhanger that is like somethingout of Stranger Things.

In Hellcat#16, Kate Leth, Brittney Williams, and Rachelle Rosenberg prove beyond a shadow of a doubt that feelings are tougher to come to terms with than supervillains or hellions. They do this while throwing together the previous Hell dimension storyline and the current short flu arcto create one tasty concoction of a showdown between Patsy and Hedy.Also, Williams continues to draw Jubilee as the cutest X-Man turned vampire ever.

Raven: The Pirate Princess #2 is filled to the brim with humor, organic character relationships, and also manages to brutally attack the rude behavior of men towards women on the Internet. Whitley's writing is raw and honest in this scenes and is balanced well by Brandt's easy to follow panel layouts and Higgins' ire-filled facial expression. Raven: The Pirate Princess #2 is a shining example of how comics can tell fun, subversive genre stories with three dimensional characters while still being socially relevant.

But my personal favorite part of Raven Pirate Princess #3 is the funny, anachronistic, and definitely leaning upon the fourth wall subplot featuring Katie and Sunshine recruiting her gaming friends. This section happens to be quite motivational with a triumvirate of three prominent female comic book creators giving Katie the little nudge she needs to be non-compliant and go on an adventure with Raven despite society, which wants to her get married and take a backseat to male characters.

Red Sonja#1 an exciting and blissful read with pleasures for the conoisseur of sexy men and women, fantasy nerd, art appreciator, and history scholar in you.

All in all, Rogues #1 is a reminder that superhero and crime stories complement each other nicely, especially with such gorgeous layouts and color palettes from Leomacs and Lopes.

Saga continues to be compelling and feature creative character designs from Fiona Staples and heart-rending narration from Brian K. Vaughan, and issue 61 in particular takes a big swing that we'll see if it works or not in subsequent comics.

One thing that I have enjoyed about the Young Animal imprint as a whole in the sheer amount of imagination it adds to the DC Universe, and Shade the Changing Girl#8is no exception. Using poetry, snatches of conversation, a whirlwind travelogue, and bursts of pop art colors, Cecil Castellucci, Marley Zarcone, and Kelly Fitzpatrick craft a comic that will even make the most jaded Batman fan smile and maybe scratch their head a little bit. The book isa lot like those music videos that Prince, Seal, and others did for the Burton/Schumacher era Batman movies, but with like 100 times less darkness and man pain.

As evidenced by his previous work on Pentagram of Horror and Kingjira, Marco Fontanili is the shlockmeister supreme of indie comics, and Space Outlaws is another hit for him.

Even though The Archies is named after him, Matthew Rosenberg, Alex Segura, Joe Eisma, and Matt Herms take the onus off Archie for bit inThe Archies#3 and give Betty some time in the sun as a POV character. They use the feud between Archie and Betty to explore the gender dynamics in bands and also weave in an extended appearance from Chvrches that is both fun fanservice, a chance for Eisma to channel his inner Jamie McKelvie, and is thematically relevant makingThe Archies#3 the best issue of the series so far.

Matthew Rosenberg, Alex Segura, Joe Eisma, and Matt Herms put the titular band through the wringer inThe Archies#5 and hold off on the big rock star climax for yet another issue. Eisma's rawer line put the band's flaws front and center, including Archie's neverending quest for fame (His cheeks are so pinchable though.) and overflowing of negative emotions from the usually chill Jughead. There's some real talk and feelings in this comic that could definitely fit in with some tracks onThe Con.

With stunning visuals, actual consequences, and a bittersweet, yet earned ending,The Archies#7 is one heck of a curtain call for this sadly short lived series.

Unbeatable Squirrel Girl #1 is a rollicking example of visual comedy through facial reactions and beat panels from Erica Henderson, and she continues to draw the cast of the book with real human proportions even if they live in essentially a cartoon physics world where Dorreen tucking her tail in her pants to give herself a "rad badonk" is enough to conceal her secret identity. She and Ryan North continues to make jokes at the expense of the Marvel Universe while developing and expanding Squirrel Girl's supporting cast while continuing to make Unbeatable Squirrel Girl the bright center of fun in the Marvel Universe.

Like Diplo, Woden also is completely unoriginal, and Kieron Gillen and Jamie McKelvie show this by reusing art from previous issues of WicDiv and even a completely different comic (Sex Criminals). It's a bold, experimental choice and pays off as WicDiv now has its true antagonist (Sorry, Baphomet.) and is revealed to be bleaker than we originally thought, especially with a cryptic final page featuring Woden and his new Valkyrie, who may or may not be Laura. And along the way, Kieron Gillen launches some powerful and effective attacks on everything from powerful music exec to pick up artist culture and so-called nice guys. WicDiv #14 is both formally innovative and socially relevant.

Everyone is just fucked up in WicDiv #28 as Kieron Gillen, Jamie McKelvie, and Matthew Wilson show the unraveling of relationships as conversation turns to violent threats and actual violence in shades of red and black. These stylish characters have been stripped down to their ugly essences with Sakhmet's bloodstained mouth representing most of the Pantheon, who have been utterly consumed by fame and power, that they are inspiring absolutely no one and could end up leading to the end of the world.

Tomboy #1 successfully combines the Magical Girl and vigilante genres through Mia Goodwin's art with manga-style figures to go with the grisly images of dead bodies and spattered gore and mix of bright and cold colors depending on the mood of the scene. Goodwin also builds the characters of Addison, her dad and granddad before unleashing hell with not one, but two murders of people close to them. With her authentic handling of the grieving process and the effects of violence, Mia Goodwin shows that there is room for earned darkness in Magical Girl stories in Tomboy #1.

One criticism I had with the art is how the exaggerated faces that Cummings' figure pull didn't always mesh well with Zub's snarky, understated dialogue. There is one scene in particular where Shira stops bantering with Roriand scares her toactivate her power. This could bea funny bit of physical comedy, but I ended up laughingatShira's werewolf like face. However, this is one minor problem inan otherwise excellent comic. Zub writes teenage interactionsand problems realistically while balancing the supernatural elements and world-building.Cummings'art continues to explore the wonderand horror of Tokyoas wellas show the characters in dynamicaction. Throw ina few mysteriesand some beautiful sunsets from colorists Rauchand Zub,andWayward#3 is the best issue of the series so far.

With its joke filled, laid back dialogue, fun world building, and non-preachy connection to real world issues, Welcome to Showside #2 is another stellar showing for Ian McGinty and Fred Stresing. Toulouse Stone even gets a complete arc as he goes from a timid, little nerd boy to a monster fighter like his sister and father, but with an extra side of compassion to go with his can of whoop ass. Also, who can pass up a book where the main character rocks hamburger swim trunks.

Welcome to Showside#3 is worth picking up just for Kit's fabulous blue tuxedo and skull bowtie combo.

Welcome to Showside #4 continues to be both hilarious and suspenseful as Ian McGinty and Samantha Knapp make fun of Tinder and the emotional power of Gerard Way's old band on tiny blue creatures while giving Kit and his friends a villain that is both powerful, entertaining, and certainly not monosyllabic in Frank. (Be sure to read his parts in your best Henry Rollins voice.)

PaitreWinnebago Graveyard#1 made me never want to leave an urban adjacent area and have my cellphone permanently glued to my hand. Steve Niles, Alison Sampson, and Stephane au are masters of gory and atmospheric horror storytelling, and your heart will feel like the creepy naked guy's heart in the first few pages when you reach the final page cliffhanger.

Like most of Grant Morrison's comics, Wonder Woman Earth One is a layered narrative that explores the character and icon of Wonder Woman, what she meant in the 1940s and what she meant today. Morrison and Paquette give Diana a real humanity and arc as a character as she goes from loathing man's world to deciding to help women everywhere and turning her back on her heritage. They let her be a woman first and then a superhero towards the very end, which is refreshing and why this comic is worth a read for Wonder Woman newbies (Like me.) and experts.

The Batman's Grave #1 is a fantastic Batman detective story and character study for both super fans and those who have only kept up with the Caped Crusader via other media or the occasional trade paperback. Bryan Hitch, Kevin Nowlan, and Alex Sinclair's are the right blend of epic and psychologically searing while Warren Ellis' script is sharp and momentum filled. I love the humanity that he brings to Alfred and the murder victim, Vince and kind of pity Batman after reading this one. His car is still cool though.

Abnett's character-driven writing and Dietrich Smith's clean, photo-realistic art make Death of Apollo #1 a great introduction to classic Battlestar Galactica as well as a solid start to the end of its journey.

All in all, Catwoman Lonely City is a touching, action-packed story about legacy, resisting authoritarianism, and finding family in unexpected places.

Crowded #12 is the latest, shining example of a comic that has it all. It features compelling chemistry between lead characters, thrilling plot elements with a dash of humor, engaging visuals, and a color palette that adds depth to characters and the events of the story. Crowded #12 ends on a cliffhanger with an air of menace. I cant wait to see how Christopher Sebela, Ro Stein, Ted Brandt, Triona Farrell, and Cardinal Rae wrap their tale of road trips, romance, and creepy technology in volume 3.

Crude#3 has plenty of knock your teeth out and kick mud in your face action, dangerous situations, and emotional turmoil as Steve Orlando, Garry Brown, and Lee Loughridge place Piotr on a hopeless quest for vengeance. For fans of Orlando's previous work,Crudeis moreVirgilthanJLAand has an added layer of moral uncertainty to go with Loughridge's fiery, hazy, and ever shifting color palette.

Galaxy's enthusiasm (and talking corgi) make her a nice foil to Kendra's world-weariness, and I'm definitely reading Prettiest Star while waiting for Hawkgirl #2 to drop.

Metalshark Bro: What the Fin has a likable protagonist, a good sense of humor, and epic art from Walter Ostlie that doesn't take itself too seriously. Bob Frantz and Kevin Cuffe have combined two classic story archetypes (Hero's Journey, Deal with the Devil) and replaced the usual white bread protagonist with an anthropomorphic shark and a floating eye with some laugh out loud funny results and loads of violence. This is definitely a book you want to check out if you want to take a break from the “real world” for a bit.

All in all, Minor Threats #1 has a hell of a hook and humanizes characters that are usually punching bags for the guys who get the toys and movies and Netflix shows and fills that Superior Foes-sized hole in my heart.

All in all, this issue is a charming read and worth checking out whether this is your first or 201st Nightwing comic

Superman and the Authority #2 is a master class in how to assemble a superhero team in the space of a single issue. Grant Morrison, Mikel Janin, Fico Ossio, Evan Cagle, and Travel Foreman seamlessly combine multi-genre short stories with a thematically rich overarching narrative of an aging Superman and a chaotic Manchester Black trying to do this superhero thing the right way. (No genocides, please!) I can't wait to see this merry band fight through Hell, and Apollo fangirl over (hot dad) Superman some more!

Superman and the Authority #4 features the memorable action and one-liners of its predecessors while having a true heart thanks to the sequences with Superman deciding to move on to deal with other threats and letting his amazing, bisexual son Jon Kent defend Earth as Superman in his stead. There's a real Shakespeare/Prospero in The Tempest relationship between Morrison and Superman as they, Janin, and Bellaire put on one last spectacle, remark on how the old days weren't so great (I love Black's dialogue about JFK), and set up some threads for the next generation of DC Comics writers to play with. I personally think this won't be Grant Morrison's last DC story, but if it was, Superman and the Authority #4 is suitably entertaining and thought provoking and looks towards the future instead of being blinded by nostalgia, namely, bring on nb OMAC!

he Question: The Deaths of Vic Sage #3 is the best issue of the series yet, and I'm excited to see how they put all the threads, timelines, Vic Sages, Questions, and questions in The Question: The Deaths of Vic Sage's finale

They're All Terrible is an immersive read because Villalobos uses a wide variety of shot types and angles to tell this high fantasy story. He uses extreme close-ups on the warrior Kral to show how disgusting he is burping and vomitting at the local pub before pulling back for more wide screen compositions to reveal his actual prowess in battle. Any time swords and sorceries are involved, Ramon Villalobos breaks the panel boundaries to create more exciting fight choreography. There is power and weight to his line work, and Bonvillain uses an almost, candy-coated color palette to show the different types of blood/substances oozing out of these warriors' opponents. Even though the big showdown is issues away, Kindt and Villalobos spare no expense with the fight scenes with body parts and viscera spraying all over the page against cool fantasy vistas and backgrounds.

Alice in Leatherland #3 is another excellent chapter in this stylized romance story that isn't afraid to get messy and real about relationships while riffing off traditional fairy tale tropes in both the character names and the children's book that Alice is writing in-story and using to process her feelings. I can definitely start to see the destination, but the fun of this book is watching Alice find herself and community in her new gayborhood as well as seeing the creative synergy of Iolanda Zanfardino and Elisa Romboli evolve through the series.

Towards the end of 2017, it seems like Archie Comics is going the “Elseworlds” approach with their non-flagship books, andBetty and Veronica: Vixensis a shining example of how this type of philosophy can be successful with quick one-liners and feminist critiques from writer Jamie Lee Rotante, easy to read and stylish storytelling from artist Eva Cabrera, and a varied color palette from Elaina Unger that ranges fromRebel without a Causeto the suburban bits ofEdward Scissorhands.

Captain America#1 is thrilling, thought provoking stuff and hasn't been this meaty and compelling since Ed Brubaker's run on the title.

Commanders in Crisis #1 reads like the comic book equivalent of a doctorate dissertation in superhero comics from writer Steve Orlando and star-making turn for artists Davide Tinto and Francesca Carotenuto. It's the first chapter in an epic saga that doesn't neglect character in the midst of its multiversal scope and also leaves room for fluid action, clever concepts, and moments that will make you smile or shudder. This is while basking in the glow of a cast that is truly inclusive, who I can't wait to see overcome monumental challenges in subsequent issues.

Cry Havoc #1 is the full package with a three dimensional protagonist, revisionist take on the well-worn werewolf horror genre with a dash of real world metaphor, and innovative use of colors as Lee Loughridge, Nick Filardi, and Matthew Wilson show that they are masters of that aspect of comics.

James Tynion concludes his run on Detective Comics with smiling, hugs, and the simple refrain that maybe one should take things one day at a time instead of coming up with complex algorithms and plans for the future.

One last thing, you should definitely check out the essay Gillen pens at the end of the comic. For reasons.

Future State: Swamp Thing #2 is a powerful and thought-provoking conclusion to Ram V, Mike Perkins, and June Chung's saga of humanity versus nature in the shadow of the end of the world. Swamp Thing himself is portrayed as a complex figure, who must make difficult choices about whether to cast his lot with his children (Who are really just extensions of himself) or with the humans, who have some good eggs but are also trying to blot out the sun and end life on this planet. Future: Swamp Thing is a disaster story with soul that ends on just the right note of hope and tragedy.

Future State: Superman/Wonder Woman #2 wraps up what is almost the platonic ideal of a superhero team-up with Dan Watters, Leila Del Duca, and Nick Filardi telling a tale of troubleshooting on a universal scale with plenty of wit, bright colors, and heroes acting, well, like heroes. Mythology, science fiction, and a pinch of snark (Mainly Yara telling Jon that Earth could survive without him.) all come together in perfect harmony and minimal continuity baggage.

Giant Days #24 deals with some pretty serious issues like death, marital problems, and regressing back to childhood. (The looks on Daisy and Esther's face when Ed tells them that Big Geoff is their butler is spectacular.) But John Allison, Max Sarin, Liz Fleming, and Whitney Cogar depict these issues in their usual quirky, yet deadpan way with plenty of funny cutaways like a heavenly image of Daisy and Esther losing their mind that they got to pick out their own snack at the movies instead of sharing a box of Raisinettes.

As Goners begins to reach the end of its first arc, the threat level of the comics reaches fever pitch as Semahn and Corona unravel the secrets around the Latimer family and their relationship to things that go bump in the night. But characterization doesn't take a hit underneath the gore, shotgun shells, and resuscitations. One of the best part of Goners is that Josiah and Zoe talk like a kid and teenager respectively. Semahn and Corona's genuine care in constructing these characters (along with the spooky monsters and atmosphere) is what makes it one of the best horror comics along the stands. The plot twists and watercolor dream sequence are nice touches which make Goners #4 the best issue of the series so far.

Hawkgirl #3 is a fun team-up, adds depth to Galaxy and Kendra's characters, and also progresses the Nth metal mystery plotline as the book continues to be one of the cutest, gayest, and most badass current comics on the stands.

Ben Kahn and Bruno Hidalgo makeHeavenly Blues#6 part highlight reel, part beautiful conclusion to five people's journey to achieve not just eternal life, but life. It's fun to watch to this heist play out on the page instead of through exposition, and the ending is well-earned. I will miss this fun, flawed cast of characters (Especially Coin Counter.) and look forward to more thought provoking and ass kicking Kahn and Hidalgo joints in the future.

Some bits of clunky tell don't show exposition aside, Jem and the Holograms #1 is a delectable blend of eye catching character designs and interesting personalities. The characters aren't always super nice to each other, but Thompson and Campbell show that they truly care for each other despite their differences. Jem and the Holograms #1 is one of the most stylish books of 2015 so far, and it has some real substance to match with its heroine Jerrica, and her relatable struggles.

In Justice League Dark #1, James Tynion takes one part of his tongue in cheek, yet serious exploration of magic and its consequences and complexities in his Hellblazer run, another part the family dynamic of Detective Comics, and gives the book the blockbuster sensibility of co-writing gigs with Scott Snyder and others on books like Dark Nights Metal and Justice League No Justice even going back to his work on the Batman Eternal weeklies and turns into a fairly delightful concoction.

After an insanely compelling and action master class of a cold open, Ed Brubaker, Sean Phillips, and Elizabeth Breitweiser so straight slice of life for most of Kill or Be Killed #11 examining Dylan's post-vigilante motivation and relationship with Kira. But cue the last few pages, and the comic is back to be one hell of (a heavy on the anti) an antihero with a Richard Nixon mask starring thrill ride. (Fingers crossed that he runs into someone in a Hunter S. Thompson outfit at next issue's costume party.

It's a visual experience that can only be done in comic and is nicely by suspense and good interactions between Elise and this issue's red herring Marin, an executive who she has a connection with.

In Midnighter #9, artists ACO and Hugo Petrus capture the greatest hits of Midnighter's fights through the use of wobbling and inset panels along with bold bursts of colors from Fajardo. But this isn't just a fight comic as Orlando chronicles Midnighter's struggles to be himself and independent in a world of spies, science, and superhumans between the bones cracking and trash talking. And he isn't in the best shape as the final page rolls around.

Some of Miles' interactions with his friends and family seems rushed (and will likely be explored in the upcoming Ultimate End miniseries), but overall,Miles Morales#12 is a gorgeously drawn, thrilling end to the current volume and Miles Morales' larger journey as a character. He isn't afraid to let his friends and family in on his secret as Spider-Man even if they end up betraying his trust (Why did Ultimate Katie Bishop have to be a HYDRA agent?)and has brought hope and heroism to a universe that is about to die.

In Mother Panic/Batman Special , Jody Houser, Ty Templeton, and Keiren Smith deconstruct the child sidekick trope and takes a look at the connection between childhood trauma and masked vigilantes through the imagery of religious liturgy. Just like JLA/Doom Patrol showed how the "traditional family" could be a cover for all kinds of evil, Mother Panic/Batman goes for organized religion. These institutions, in and of themselves, are not bad, but can be used for nefarious ends because of their primal connection with humans. The comic doesn't go full religious satire, but it's a memorable framing narrative. I am never going to get the six panel Batman Year One remix with him becoming a priest and not a "bat" out of my head.

Rick Spears and Emmett Helen dig deep and capture the epic emotions of growing up through the language of spot colored, ink slinging punk rock comics in My Riot. Valerie is a well-developed protagonist with a complex web of relationships that directly bleed into her music and lyrics. It's really beautiful to see her journey from simply being to becoming as some very un-punk philosophers would say.

Rick Spears and Emmett Helen dig deep and capture the epic emotions of growing up through the language of spot colored, ink slinging punk rock comics in My Riot. Valerie is a well-developed protagonist with a complex web of relationships that directly bleed into her music and lyrics. It's really beautiful to see her journey from simply being to becoming as some very un-punk philosophers would say.

If you want a Spider-Man comic that reminds you of flipping through comics with big, open layouts by John Romita Sr, Todd McFarlane, or Mark Bagley and still has a quirky, clever, and occasionally adult sense of humor, thenPeter Parker Spectacular Spider-Man#1 is the book for you. Chip Zdarsky is truly the king of comedy featuring iconic pop culture characters with his playful, sometimes encyclopedic, and joke-a-minute approach to the webslinger just like he did with Jughead for Archie.

Draper-Ivey continues to be one of the most interesting artists in superhero comics with his manga influences shining through in emotional scenes like when Static talks to a Bang Baby who's being chased by Feds and accidentally blows up a city street.

Superman: Heroes #1 is a high note for Brian Michael Bendis' current run on the Superman titles. It also features insightful writing from Matt Fraction as well as Greg Rucka reminding readers that he's one of the greatest Batman and Wonder Woman writers. On the visual side, Mike Perkins shows a conversation can have just as much power as a good fight scene. Kevin Maguire is still the master of the superhero group shot. Steve Lieber's comedic timing and use of beats works for friends being open and vulnerable together. Even if you aren't current on Bendis' Superman comics, Superman: Heroes #1 is worth picking up and dropping $5.99 on. It's an intelligent and heartwarming take on the first superhero.

You Look Like Death #1 is a direct hit to the pleasure-feeling parts of your brain. I got the same feeling from reading this comic as I did driving into cop cars and hapless civilians in the Grand Theft Auto games sans all the unnecessary carnage. Klaus uses his powers for pure hedonism, angers authority figures, and has a good time, rinse and repeat.

With carefully crafted artwork, writing that is both intelligent and down to Earth, and stories that have a distinct feel yet are connected through the wonderful device that is the Dreaming,The Sandman Universe#1 is a fantastic return of comics' greatest creations as its creator, Neil Gaiman, hands off the torch to other skilled creators just like Morpheus did to Daniel over two decades in the first volume ofSandman. It's a wonderful blurring of lines between reality and fiction.

The Unbelievable Unteens #1 is the perfect comic for readers who have Chris Claremont, Joe Matt, and definitely Alan Moore on their bookshelves. Jeff Lemire and Tyler Crook also put Jane Ito on the first steps of a reality-blurring emotional journey and give us a good gauge on her temperament before throwing her in the deep end of a genre shift that is reflected powerfully by the comic's art style and color palette.

With a dollop of dark energy and pinch of sadness in Jamie McKelvie's art and Matthew Wilson's colors,WicDiv#29 continues to chronicle Persephone's development into the Destroyer as Kieron Gillen throws away the seemingly beautiful apple that was the Pantheon's relationships and exposes its rotten core, black as Morrigan's wardrobe.

With well-timed jokes, flashy art, and fluid visual storytelling, Ultimate Spider-Man #3 continues to show the difficulty of doing good and helping people in a world that is literally undergirded by evil. The scenes with Peter and his family, former boss J. Jonah Jameson, and potential new friend Harry Osborn truly show that it takes a village to save the day and not in the cliched "Avengers assemble kind of way. Although there's hints at the Maker and larger Ultimate Universe narrative, Hickman and Checchetto keep the stakes and small and personal in this series, and it's why this book is easily one of my favorite monthly ongoing superhero comics in recent years.

Unstoppable Doom Patrol #1 has loads of nods to past Doom Patrol stories, but Culver and Burnham find new wrinkles especially in their take on Jane/The Chief and how the team interacts with more mainline superheroes although I was totally substituting Lazarus Planet with Invasion! in the page where that's mentioned. All in all, the book features a quirky cast of characters rescuing societal outcasts and saving the day, but in an offbeat way with Burnham flexing his horror muscles in a PG-13 way and still providing a lot of big action and bright colors courtesy of Brian Reber and shows it's okay to get weird sometimes and express big emotions.

2020 Rescue #1 is a fantastic demonstration of the kind of story potential that can happen in superhero comics when female characters aren't fridged or sidelined and have agency and complex emotions.

A Thing Called Truth #1 finds a nice balance between genre thrills, contemporary commentary, and slapstick comedy. Also, by being laser focused on Magdalene's life and work, Iolanda Zanfardino and Elisa Romboli ensure that readers give a shit about her wild country spanning road trip. They leave a lot of cards on the table, and I'm excited to see them turned over as the series progresses.

All-Star Batman#1 is a beautiful marriage of yet another unique take on a classic villain from Scott Snyder with a suspenseful premise (Batman on the run with no technology) and powerful art from John Romita Jr. Right now, it is DC's flagship Bat-book.

In Assassinistas #2, Tini Howard, Gilbert Hernandez, and Rob Davis take the messiness, yet real love between a mother and a son and throws it in the middle of a gun toting with the potential for geysers of blood exploitation flick. Its hilarious to see modern day teenagers react to intense situations they were far from prepared for, especially in the last third of the comic where Dominic goes from trading barbs with his mom to running around shirtless with a rifle. Howard and Hernadez find a solid middle ground between verbal and visual comedy without losing the suspense factor.

My final note is that the portraits that mark breaks between stories should definitely be used by Lana Del Rey herself on posters or merchandise. They capture her beauty and sadness just like the various stories inBaroque Pop. If you like your pop music darker and a little more retro, then the songs of Lana Del Rey andtheBaroque Popanthology are definitely for you.

The plot ofBravest Warriors#29 might not be supersuspenseful. (Ian McGinty does get to show off hisaction chops ina ball pit ofall places.) However, because the charactersare so likable,and Lethand McGinty have an impeccable handle on their voices and senses of humor, this is another enjoyableissue of Bravest Warriors. It is great to just see the team interactand havea good time.For example, Catbug shows up with the right,adorable quip or little joke when things geta little tense.Bravest Warriors#29 has the right blend of nostalgia, silly humor, character interactions,and expressive Ian McGintyartcombinedtogether ina one-off issue perfect for new readers or fans.

Even though it's a lot like digging through fragments of someone else's dream,Bug: The Adventures of Forager#1 is an excellent tribute to Jack Kirby's vibrant imagination by the talented family trio of Lee Allred, Mike Allred, and Laura Allred. Mike Allred's figures bounce off the page, yet have a human beauty to them, and there is something primal, almost Pixar-esque about his and Lee Allred's plotting as Forager/Bug tries to make sense of his place in the world. Is he an insect servant of Highfather, an adventurer, a god, or just a dead guy? The next five issues should hopefully unravel this colorful existential crisis.

All in all, Pop's Chock'Lit Shoppes of Horror continues to show that there is a rich vein of horror, anxiety, satire, and yes, humor to be mined from these classic all-American characters.

Conan/Red Sonja #4 reads like the last half hourofa goodaction movie when the die has been cast,and the hero(es) fights the villainand hopefully saves the day. But underneath the magic, muscles,and mayhem, Simone, Zub,and Green portray Conanand Sonjaas human beings, who have been through incredibly tough times,and just need someone to draw swordsand drinkandale with. With its sharpart, occasionally poetic writing,and relentlessaction,Conan/Red Sonja#4isa frenziedconclusion tothe ultimate fantasy fiction crossover.

Godzilla Valentine's Special is a beautiful story about two people finding each other in the middle of years of turmoil that happen to involve giant monsters. Zoe Tunnell gives lovely arcs to both Tam and Piper, and her dialogue is full of emotion while Sebastian Piriz and Rebecca Nalty make sparks fly with the big monster battles as well plenty of close-ups of our protagonists coming to terms with their feelings. This is a must-read for fans of kaiju stories, queer romances, or both like yours truly!

All in all, Hack/Slash: Back to School #1 is perfect reading for spooky season with buckets of blood, general creepiness, and a self-aware sense of humor to go with the vulnerability in the captions Thorogood writes for Cassie done in a handwriting type lettering style.

Max Bemis takes the dark humor of both his songs with Say Anything and great comics like Moon Knight and Foolkiller combines it with unparalleled violence and wild, eye-popping visuals from Eryk Donovan and Cris Peter. There's also strong, Vertigo-style supernatural world-building with tongue firmly placed in cheek; think less Sandman and more Preacher. Whether you like vibing out and thinking about the multiverse, afterlife, and moral philosophy, or just reading about a guy who kills the shit out of people thanks to his ever-present man-pain, Heavy #1 is a strong debut and the comic for you.

Boasting a variety of storytelling styles from the full page spreads of Hecate's art to dinner table montages and characterization expanded up on in glances, Iolanda Zanfardino's Hecate's Will #2 unpacks its protagonist's journey and feeling at its own pace leaving time for being deep in thought, taunting the straights, or spending time with old friends. It's art about art, but mainly focuses on Hecate's daily life, friendships/drama, and the personal context behind her images ending up as an intimate character study that embraces the collective (Aka the dinner at the end) and not just navel gazing.

William Roy is vulnerable, funny, and turns in some great sequential storytelling In Vitro showing a real mastery of layout, color palette, and having symbolism tie into the story instead of just having it to make him look clever. He can do both sad (Guillaume looking at the kids with their parents on the playground.) and wacky (Guillaume as a sperm) and is a cartoonist who I would definitely want to see more of.

Jonna and the Unpossible Monsters #1 shows off Chris Samnee and Matthew Wilson's skill at visually depicting both dynamic movement and quiet character moments as they and Laura Samnee set up a world full of danger and things that go bump during the night and day plus a plucky protagonist, who is willing to face them because she loves and misses her family. I can't wait to see how Rainbow grows as a character and the dangers (Aka monsters) she faces and hopefully overcomes on her adventure with a purpose.

Josie and the Pussycats#8 has comedy, sadness, and a few great Jughead one-liners plus Audrey Mok and Kelsey Shannon's intricate attention to costuming and setting, which makes me excited for Mok taking over as the main artist on Archie. Marguerite Bennett and Cameron DeOrdio craft a solid story out of the lingering feeling Josie has for Alan M plus the drama bomb that is the Cabot siblings and then go bonkers at the end because the next issue is the last one.

Lovesickness features yet another Junji Ito horror epic in the story that shares a name with a title, but it also shows off his gift for dark humor in "The Strange Hizikuri Siblings", Gothic horror with a late capitalist twist in "The Mansion of Phantom Pain", and social commentary with jarring images in "The Rib Woman". It's yet another example how he's the master of building up his plots from regular to horrifying and finding the monstrous in all of us from ordinary people looking for love to sociopathic siblings and even workaholics and beauty queens.

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Midnighter#11 introduces Apollo to the series at the best possible time as Steve Orlando, ACO, Hugo Petrus, and Jeromy Cox explore his fractured relationship with Midnighter and awe-inspiring power between and during a series of excellently choreographed scuffles with the Suicide Squad and Bendix's The Unified.

Even thoughMiles Morales#7 has kineticart, lush colors,and caps offMiles'arc inan explosiveand sometimes emotional manner, it hasa couple of problems. Character interactionsand dialogueare Brian Michael Bendis' forte, but therearea few clunkers here, like the Green Goblin telling Miles, "Iam your father." Norman begins to talk in circlesas well, but this may bea side effect of dyingand coming back way too many times. And speaking of this, the Green Goblin sometimes seems like Jason Voorhees in the laterFriday the 13thfilmsas he keepsavoiding deathand even "resurrecting" multiple times in one issue. Witha lesser villain, this would drag the whole storyline down, but Bendis understands that he was responsible for the birth of both Spider-Menand the death of oneand gives him gravitas by making himanangry,abusive father taking out his failings on his children, who happen to not share his last name. This kind of relationship between Miles, Peter,and the Green Goblin

Mother Panic#2 continues its fragmented narrative style, but Jody Houser and Tommy Lee Edwards continue to embrace the sleaziness of Gotham City and a new vigilante that is more than a match for it. There is also a three-page backup story about Gotham radio host and Batman supporter who was murdered by writer Jim Krueger and artists Phil Hester and Ande Parks that also looks at the moral implications of being a vigilante albeit with cleaner, more Bruce Timm-esque art.

In Nothing Lasts Forever, Sina Grace goes into depth about his depression, his painful struggle with a disease that made it virtually impossible for him to keep down food, and his true feelings about the men he's dated and slept with. And he does it all in a varied visual style and with his sense of humor intact. I won't stop smiling and laughing at the all the forms that Sina takes in the comic like some kind of cartoonist Mystique going from a bad mushroom trip to being sad in the shower to even becoming Sailor Moon herself.

InHellcat#8, Kate Leth, Brittney Williams, and RachelleRosenberg take a break from the battle between Hedy and Patsy to zero in on the relationship between Patsy and She-Hulk, and how Civil War II has affected it. And the issue is a fitting eulogy for the strong (Hopefully, she pulls through and has a solo title in the future.) It's a pretty emotionally devastating comic book with the slightest touch of light (No fireworks sadly.) at the end.

Part critique of punk culture, part coming of age story, and filled with bloody revenge, Punk Mambo #0 ties together these disparate elements with help from a well-developed protagonist, simultaneously creepy and clean art from Robert Gill, and a sneaky sense of humor. Peter Milligan doesn't pass judgment on Victoria and lets the readers decide if she's worthy to be emulated, pitied, or even laughed at. Punk Mambo #0 is a worthy, occasionally scary introduction to a compelling character and a homage/satire to a still influential musical movement.

Rockstar and Softboy is a rare and wonderful queer friendship story from Sina Grace that isn't afraid to embrace its chaotic side once the house party gets going. The comic is also filled with frank and honest conversations from the main characters as they discuss their relationships, flaws, and why they end up clicking in the end. It's definitely worth adding to your Sina Grace slice of life/memoir library, and he even uses some tricks from working in superhero comics for the big gay super sentai battle royale at the end in a fusion of indie and mainstream styles.

Saga#25 may relya little too heavily on Hazel's exposition/future narration, but it continues the series' tradition of strong finalactsand continues to showcase Fiona Staples' world-buildingand storytelling skills. By splitting square panels in half, sheadds heat todebates(which therearea lot of in this issue)and helps Vaughan's quick backand forth dialogue have its desired effect.Saga#25 increases the scope of the seriesand continues to show why it is one of the best looking comics whilealso balancing its family dramaand space opera elements.

Shade the Changing Girl#10 is another beautiful installment of Cecil Castellucci, Marley Zarcone, Ande Parks, and Kelly Fitzpatrick's comic as Shade wrestles with nostalgia, reality, and death through bar fights, sitcoms, and national parks.

Superman: Son of Kal-El #5 is character, not plot-driven as Tom Taylor, John Timms, and Hi-Fi dig into Jon Kent's emotions at both work and play. He has great power, but he also has limitations. However, smooching a cute boy and taking some time for self-care will help with that so that Jon is back in action and using his powers in a social justice-tinged way.

The Archies#1 is another worthy addition to the “new Riverdale” books and will make you wish that Matthew Rosenberg, Alex Segura, Joe Eisma, and Matt Herms teamed up to show the band go on tour, bicker even more, and still make solid pop rock music. (The tambourine is the hidden ingredient to their musical success.) Also, Archie Andrews, goofball popular music savant is my second favorite incarnation of him after Archie Andrews, decapitated Predator victim… (That last sentence was written with nothing but love.)

Dean Haspiel and Mark Waid also really dig into the idea of nostalgia through The Fox, and how the old days were pretty good, but that our memories are more important that preserving every nook and cranny of childhood. The corporation as villain has been used a lot in recent comics, but they wisely focus on the characters' feeling and interpersonal relationships while throwing in an ample dose of sarcasm, sight gags, and an actual final page cliffhanger to keep the story entertaining.

Ultimates 2 #1 is a slow burn start to Al Ewing and Travel Foreman's cosmic story of redemption as former baddies Galactus and Anti-Man lead the fight against a nefarious force that threatens to destroy the multiverse, timestream, and basically everything. But even though the comic's scope is massive (And Dan Brown's color palette is intoxicating.), they don't neglect the individual personalities of the Ultimates' members and their relationships between the double page tapestries of nearly omnipotent beings in pain. (Poor Eternity!)

We Are the Danger#1 has all the raw emotion and passion of your favorite summer pop single that happens to feature some distorted guitars to give it a little edge. Fabian Lelay and Claudia Aguirre take two relatable situations: feeling like an outcast at a new place and loving music with every ounce of energy and turns into yet another hit for Black Mask Studios.

X-Men: The Trial of Magneto #1 has the melodrama, action, questionable morality, and high stakes emotions that are what make X-Men comics so great. Leah Williams, Lucas Werneck, Edgar Delgado, and Clayton Cowles craft a comic worthy of a white cape wearing anti-hero grieving his daughter (and being a little bit dodgy), who is almost beaten to death by his son. Oedipus (Re)X sans the incest bit and with more metallic manipulation.

X-Ray Robot #1 may end up being another scientist and robot team up to save the world from a threat beyond our knowledge, but for now, Mike Allred and Laura Allred subvert these well-trodden tropes and give readers a unique experience of traveling to another dimension and bonding with another consciousness. The way they shift their art style when Dr. Wilding goes to another dimension and the cutting together of tranquil domesticity with violent unreality makes X-Ray Robot #1 a fantastic reading experience and worth pouring over for the Allreds' dynamic storytelling alone.

All in all, Doomsday Special adds new depths to the creature that killed Superman by fusing him to the intricate worldbuilding of DC Comics' Hell.

All-New Guardians of the Galaxy #1 is kind of funny, kind of dark, and opens a whole of bag of mysteries about these characters that we've come to love in comics and movies. Also, artist Aaron Kuder makes the transition from lantern jawed superhero to "hazy cosmic jive" (Featuring talking raccoons and mechas) with style, grace, and a funky new inking style.

I think that this comic is a must-read for anyone who has gone to a comic convention, seen the high prices for autographs with William Shatner or Stan Lee and cursed either the celebrity or con organizers. As a veteran of both the comics and television industry, Jimmy Palmiotti is well-versed in the nuances and problems of comic conventions and exposes them in Big Con-Job #1 while creating a rag-tag bunch of washed up sci-fi actors, who just want financial security. However, Big Con-Job isn't just about geek culture and delves into things like depression, relationship problems, and the most primal human problem of all: survival. It has its sad moments, but they're balanced by a heavy helping of parody, cheesy one-liners, and pop culture references.

Captain Marvel #7 expands upon Carol Danvers' motivations in opposing Iron Man in Civil War II and shows the hard work she put in to continue to use Ulysses to counter future threats. Ruth Fletcher, Christos Gage, Marco Failla, and Matthew Wilson also give us insights into her personal feelings about Rhodey's death, and how she acts on those emotions going forward. This issue is a solid pickup for anyone who wants some added layers of characterization in Civil War II as well as for Captain Marvel fans, who want a deeper look into her recent actions.

Dark Days: The Casting #1 is another engrossing chapter in this deep dive DC Universe mystery. Also, Andy Kubert draws the hell out of Hawkman, and Jim Lee does the same with the Joker.

Dark Days: The Forge #1 is the first chapter in a dense, mysterious, yet entertaining DC Comics summer epic. You might not get all the continuity references, but at least one moment in the story will make you smile or pump your fist.

By starting Detective Comics #983 with a pair of tragedies that Batman failed to prevent, Bryan Hill, Miguel Mendonca, Diana Egea, and Adriano Lucas immediately place the Dark Knight on the defensive and challenge his preconceptions and reliance on young people to assist in his war on crime. Black Lightning is an organic fit for the story and doesn't seem like a second fiddle with struggles and strengths of his own. Finally, Mendonca, Egea, and Lucas' art work captures the power of a superhero action sequence without glossing over the pain that comes after especially in Duke's case.

Overall, Ninth Doctor #1 has some highly entertaining character interactions, some thought-provoking ideas, and gorgeous two and single page spreads of space. Blair Shedd's art looks like a much higher budget version of the TV show, and he uses speed lines and a panoply of colors to reveal the beauty of darkness of space. Ninth Doctor #1 serves as a great introduction to the world of Doctor Who for new fans and also reminds old fans of the sass and darkness of this regeneration of the Doctor.

Faith #2 is filled with familiar superhero story beats, but Jody Houser, Pere Perez, and Marguerite Sauvage continue to develop Faith into a multi-faceted heroine filled with enthusiasm, warmth, and some doubts so you won't even notice while you're enjoying the comic.

Finally, Archer should always dress up like Legolas. He pulls it off better than Orlando Bloom.

Honestly, Faith #5 is worth picking up for Marguerite Sauvage's double page spread of Faith imagining herself as a Sailor Scout when she sees the (evil) talking cat at the mall that is manipulating Zoe Hines. It is a showcase of how important and inspirational superheroes are to people everywhere as in two separate stories, Faith beams with joy as two young girls look up to her and combines the real world, pop culture, and the superhero genre into one pleasing comic book mixture. It is also nice to see a talented group of female comics creators from different eras team up and do their own takes on one of the best female superheroes and hopefully inspire yet another generation of female comic book fans and creators.

Future State: Swamp Thing #1 is a smart take on one of DC's most beloved characters as well as being a holistic take on the "dark future" genre, and it even adds a touch of mystery at the end.

Giant Days #18 is a hilarious testament to the relationships that John Allison has developed throughout the series, and Max Sarin, Liz Fleming, and Whitney Cogar add energy and humor to everything from an end of term dance (Where someone obviously gets lucky.) to a shouting match at the local Games Workshop.

Giant Days#40 shows how essential Max Sarin's gift for drawing expressive eyes is to the title and has a great emotionally honest conversation about relationships laid down in the mix between banter and DIY projects.

Jim Zub, Djibril Morrisette-Phan, and K. Michael Russell channel the pain of rejection and the cutthroat nature of Hollywood in Glitterbomb #1 to craft a new kind of anti-hero in middle aged actress Farrah while fully immersing the comic in both the revenge thriller and body horror genres.

Harley and Ivy Meet Betty and Veronica #1 is a fun, hilarious comic starring attractive and problematic humans that's like eating your Halloween candy way before October 31.

On the surface, JLA #1 is about a new superhero team with heroes of varying skill sets, moral compasses, and fighting autocratic alien invaders, who want to save Earth from itself. (Their speeches sound like Donald Trumps protect America from people who dont look like straight white Christian males, but with more edged weapons and Power Ranger bad guy armor instead of a toupee and bad spray tan.) But its a battle between idea and execution as Steve Orlando has Batman talk about creating a team that can inspire regular people to be heroes, but Ivan Reis and company show them stumbling over themselves. Hopefully, Batmans badass speeches and fearless fighting moves can get them back on track.

In Kingpin #1, Matthew Rosenberg, Ben Torres, and Jordan Boyd construct a slow burn crime story from the POV of a talented, yet flawed female journalist. One day, Sarah Dewey may usurp Ben Urich for the position of favorite journalist in the Marvel Universe with her biting critiques of bootstraps narratives. But for now, she's providing a fresh perspective on the poisonous underbelly of Earth-616's New York City.

Made in Korea #3 is a solid middle issue and sets the table for some explosive developments and creates tension in key relationships in Jesse's life.

One thing that set Miles Moralesapart from Peter Parker was the fact that his parents were stillaliveand continued to haveanactive influence on his life. This endedafter Miles told his dad his secret identity,and Jefferson blamed him for his wife's death. Initially, it might have seemed that Jefferson (although stricken with grief) was being mean to Miles or was possibly mutantphobic, but these past two issues ofMiles Morales Ultimate Spider-Manshow his complex relationship with the super peopleand organizations of the Ultimate Universe while showing some of the positive qualities he has passed onto Miles.Miles Morales Ultimate Spider-Man#9 isa turning point in their relationshipanda showcases Bendis' gift for delving into superheroesand their interpersonal relationships.

Miles Morales Ultimate Spider-Man#10 hasaction, entertaining dialogue, furthers the plot,and continues to establish Miles Moralesas the one true Spider-Man while still showing him having ordinary teen strugglesas usual. Thereare few slip-ups in regards to the Spider-Man twins plot line and a stray bit of dialogue or two,butMiles Morales#10 isanother goodchapter in one of Marvel's perennial best series.

Miracleman isn't as fresh in the 2020s because so many comics, TV shows, and films have borrowed from whether intentionally or unintentionally, but dealing with trauma and the aimlessness of youth will always universal struggles.

In Mother Panic #1, Jody Houser and Tommy Lee Edwards give readers a view of Gotham that isn't connected to the Batman Family, their rogues gallery, or the GCPD, which are the usual vantage points on this frightening city. They offer up the POV of a young woman, who has had a hard life and is now some kind of edgy socialite by day and a vigilante by night, and repudiates Batman's way of doing things. There are lots of gaps in her backstory and her relationship to the antagonist, Hemsley, but Houser and Edwards offer a tasty brew of dark, psychedelic, and occasionally snarky costumed heroics that makes Mother Panic much more decadent and depraved than DC's traditional superhero offerings. It will be a lot of fun to see them connect the dots in the months to come.

There are legions of comic books about superheroes who work or previously have worked in Gotham City, but this book sets itself apart from them because Jody Houser and Tommy Lee Edwards flat out gaze into an abyss of violence, trauma, just a dash of attitude, and out comes Mother Panic #3. The cynical view of the Bat-family continues in Jim Krueger and Phil Hesters entertaining backup story featuring a Batman hating podcaster-turned-late night radio host, who looks like a Tea Party militia version of David Foster Wallace. (Its the red, white, and blue bandanna.)

All in all, Conquered Shores #1 is an interesting dystopian story illustrating the simple fact that getting what you always wanted isn't always fulfilling plus it features gorgeous, at times haunting visuals from Pasqual Ferry and Hollingsworth and real world parallels to climate change and inequality.

Overrated as in a few short pages, Nancy Drew steals the comic in shimmering fashion and has been pulling the Hardy Bros strings all along. Theres a reason why she gets top billing, and the final pages featuring her along with Werner DellEderas versatile artwork and Anthony del Cols stylized and sometimes sassy writing definitely got me hooked on the Nancy Drew and the Hardy Boys series going forward. The comic kind of roasts the it would be hilarious if they wore Ed Hardy Bros, but also tells a dark, exciting mystery story in the vein of Veronica Mars, Brick, or a slightly less soapy Riverdale.

Plutona #2 is a personal story, and Jeff Lemire and Emi Lenox give readers a raw perspective into the lead characters' thought processes and reactions. They sound and react like scared kids with Ray being more rebellious while Diana is just freaked out and wants to tell her family, and Mie is the inquisitive one. Teddy seems like an earnest and innocent fanboy, but the final pages add intrigue to his character and set up issue 3 for some possible twists and turns. Plutona #2 is a comic about death, and it faces it head-on with Lemire, Lenox, and Bellaire showing the ups and downs of adolescence amplified in the face of tragedy with honest writing, intimate art, and timely colors.

In Reborn #1, Mark Millar and Greg Capullo prove that even your grandma can be a hero as they flesh out the protagonist, Mrs. Black, before throwing her into a new body and a wild and wacky fantasy world. Capullo also shows he can nail the quiet, human scenes that separate pinup artists from true storytellers.

Rocko's Modern Life#2 is the soothing comic book balm for optimistic 90s kid that find professional life in 2018 figuratively or literally soulless.There's even amusing backup story written and drawn byDavid DeGrandin a kind ofThe Nib artstyle about the perils of wearing a big costume to comic cons. I don't see how those Optimus Prime cosplayers pull it off.

Secret Warriors #1 is a flashy superpowered action filled hymn of resistance against fascism from Matthew Rosenberg, Javier Garron, and Israel Silva. And it kicks off a fairly awkward assembling the team arc that isnt your typical roll-call issue of Avengers or Justice League.

Secret Warriors #3 shows the consequences of having the two big guns on a superhero team, or really any kind of team, having moral compasses that are oriented in opposite directions. Matthew Rosenbergs writing is full of snark and spice, and we really get to know why Kamala and Quake act the way they do in this issue. Even if youre anti-Secret Empire and HYDRA Cap, this comic is worth a shot because of its gloomy color palette, moral complexity, and hey, there are dinosaurs, explosions, and creepy mad scientists too.

Sirens of the City has immersive art with timely pops of color from Khary Randolph, a socially relevant script with fun Gothic melodrama elements from Joanne Starer, and recontextualizes monsters of myth and folklore using 1980s New York as a backdrop. I came for the cool outfits and storytelling and am staying for Layla's journey.

Sirens of the City #1, come for the cool outfits and storytelling and stay for Layla's journeyPosted on July 20, 2023by Logan DaltonLeave a comment

Spell on Wheels #1's execution lives up to its intriguing premise as Kate Leth, Megan Levens, and Marissa Louise aptly balance friendship and magic when Claire, Andy, and Jolene team up to retrieve the magical items from the evil ex. That sentence makes the comic sound like a fetch quest, but the personality quirks, Levens'beautiful blend of cartooning and realism, and the promise of danger to come make this series worth picking up.

Spider-Woman#5 reads likea cheerierAliaswith more varied panel constructions. Rodriguez'sart can showan intense conversation between Jessicaand Urich usingan old school nine panel grid oranaerial takedown shaped like the symbol on her new costume. This kind of storytelling rangealong with Hopeless' crackling dialogueand the return of Ben Urich make the new era of Spider-Womana bright, if rainy one.

At last we have revenge for Phantom Menaces focus on a whiny 9 year old and a Jamaican stereotype/CGI abomination in the form of Darth Maul #1, which focuses one of the few cool parts of that movie. And as a cherry on top of a red and black Zabrak sundae, theres an adorable Pixar short film meets the art style of Peanuts backup story from Chris Eliopoulos and Jordie Bellaire that shows that even probe droids can have friends.

The Star Wars Universe has been fertile ground for a crime saga with the prominent role of the Hutts in both the original Trilogy and sequels as well as the unproduced Sopranos-esque Star Wars Underworld TV show. Poe Dameron #9 definitely cashes in with its Godfather Part II story structure showing Terexs rise to prominence, and his moves in the modern day that is about to collide with Poes super secret mission. Throw in the usual spaceships and aliens, and its a play of genres that Star Wars has been known for ever since George Lucas decided to transpose Akira Kurosawas Hidden Fortress to and recreate World War II dogfights in space.

The plot ofThe Archies#2 is a fairly standard young band's rise to glory story, but Joe Eisma's gesture cartooning and Herms' flashes of colors give each band member a fun, quirky personality. Also, it definitely feels like that this comic was made with love for indie music and bands out there living the struggle soThe Archies #2is a book you can give to your grandma, who grew up chuckling at the Archie comics back in the day or to your hipster friends, who might smirk at it and then longingly remember when they though they could be the next post-synth-indie-dream pop sensation. (That's my not so professional approximation of The Archies' sound.)

The New World#1 is the socially responsible young people falling in love story that we deserve in summer of 2018 featuring smart world building and tongue in cheek humor from Ales Kot and jaw dropping visuals from Tradd Moore and Heather Moore. Don't forget “ACAB” though.

All in all, Savage Sword of Conan #1 is a worthy return of this title and a showcase of gorgeous sword and sorcery visuals paired with insightful arcs for Conan and Solomon Kane.

Kieron Gillen and Jamie McKelvie expertly use flashbacks in WicDiv #20 to shed new light on characters like Baphomet, Persephone, and Ananke. The comic also has some shocking reveals, is excellently colored by Matthew Wilson, and is a success on a visual, visceral, and intellectual level.

WicDiv #21 features intense colors from Matthew Wilson, epic and tragic art from Jamie McKelvie, and Kieron Gillen continues to explore theme of youthful energy exploited by the old and power hungry while taking the overall plot to a dangerous place for our favorite gods and goddesses in a deafening crescendo that is William Blake meets Daft Punk.

WicDiv #24 puts Persephone on a path straight to the dark side through her words, actions, and even Matthew Wilson's color palette. This issue combines indulgence and investigation beginning with a party and ending in yet another god on god duel.

The showdown between Persephone and Woden with Urdr acting as the beleaguered line judge comes to an uneasy truce with Woden coming off as just as much as a fuckboy as usual despite freeing the Valkyries. But Kieron Gillen, Jamie McKelvie, and Matthew Wilson also take time to show these powerful gods mortality and uncertainty about death in WicDiv #25, and those pages plus crazy cliffhanger are what will stick with me moving forward.

In recent years, Marvel Comics has had several strong comedy titles in their lineup (Unbeatable Squirrel Girl, Howard the Duck, and Max Bemis'Worst X-Man Evercome to mind), but Kelly Thompson, Stefano Caselli, and Triona Farrell bring the funny to a team superhero book inWest Coast Avengers. It also continues the fantastic arc that Thompson has crafted for Kate Bishop over the past two years and providing a new home for the madcap antics of Gwenpool, the goofiness and salt of the earth earnestness of Clint Barton, the laconic punching of America Chavez (Hopefully, she isn't relegated to team chauffeur.), and the pompous edginess and untapped potential of Quentin Quire. In one issue, a team with an interesting dynamic has been assembled as well as a bad guy that fits the tone of the book so all in all, West Coast Avengers #1 is a win.

In X-Men Gold #1, Marc Guggenheim, Ardian Syaf, Jay Leisten, and Frank Martin show that they can deliver on the flashy action as well as the quiet, usually angst filled character moments that are the reason why I and others fell in love with this franchise. Honestly, I was sold when Kitty Pryde said To me, my X-Men and then progressed to phasing a giant skyscraper through the ground. This is the best she has been written since Jason Aarons Wolverine and the X-Men.

Ed Piskor's X-Men: Grand Design – X-Tinction #1 is an achievement in focus as he chooses not one, but two characters with convoluted backstories (Cable, Madelyne Pryor) to be the anchor point of his exploration into late 1980s X-Men comics. For all the cool digressions and sizzling subplots, Piskor rides the momentum of this mother/father/child/ex-girlfriend/creepy scientist guy melodrama from page 1 to page 40 and even plays telekinetic baby keep away along the way. Like Renaissance painters who would find their own story out of a complex tapestry of Biblical stories and classical mythology, Ed Piskor turns the “X-Overs” of the late 80s into a powerful family drama that happens to involve eye beams and psychic powers.

Yes, the final page of Action Comics #1000 is a huge retcon for Superman's character, and hopefully, Bendis has the reasoning and great story to back it up, or Rogol Zaar might just be a Mongul knock-off with a cooler sword.

One of the Alien franchise's underlying themes is motherhood, and Alien Resurrection decided to beat viewers over the with that theme a few decades back. On the other hand, Gabriel Hardman's Aliens Dust to Dust #1 uses the bond behind a mother and son to supercharge a suspense filled story and give it an emotional foundation like the relationship between John and Sarah Connor inTerminator 2. He doesn't beat us over the head with extraneous facts about them, but uses touch, facial reactions, and pauses between quick spurts of dialogue to show that they're in over their heads like any of us would be if H.R. Giger's haunting designs made a rude entrance into our lives.

Your Pal Archie#1 has all the melodrama and slapstick of an old school, supermarket Archie digest with relevant 21st century jokes and a hint of suspense from Ty Templeton and wacky layouts and visual comedy from Dan Parent. It's a (crazy) summer vacation in comic book form.

Even though it occasionally hits on some real teen/young people concerns, like how long is too long to wait to text someone back if you're romantically interested in them,Archie#17 is mostly stylized wackinessfrom Mark Waid, Joe Eisma, and Andre Szymanowicz, who uses some overpowering reds in Cheryl Blossom's scenes. It's pure comedic melodramatic fun.

Batgirl #46 has a fun friendship moments, adorable art from Babs Tarr, a kick-ass fight scene, and hints at mystery plot line and foe that could create a seismic shift in this title down the road.

With clever dialogue and rapid plotting of Cameron Stewart and Brenden Fletcher, the fierceness, cuteness, and sadness of Babs Tarr's art, and the battle of genres and tones created by colorists Lee Loughridge and Serge Lapointe, Batgirl #48 is an excellent outing for the title, and there are more cool reveals to come. There is definitely a lot of darkness to endure before the colorful fun returns. If it ever does.

characters that fans of all genders, races, sexual orientations, body types, and disability status could see themselves in.

In Batman#51,King, Weeks, and Breitweiser go beyond inserting Batman into the court room drama genre and use the trial of Mr. Freeze to probe into his anger and pain and the roots of Bruce/Batman's sense of justice. Lee Weeks' naturalistic approach to figures and faces really helps as most of the denizens of this book are ordinary citizens and not superheroes or villains.

Batman Annual #1 showsa rareheartwarming side of Batman and his crusade to fight crime with the Christmas holidays as a backdropand also acts as a showcase for comics talent, old and new.

With exhilarating action, the introduction of some fan favorite players on the board, some character bonding and a great final page reveal, Batman and Robin Eternal #4 is a stellar installment of this weekly series.

The flashback with the death of Maxwell and insights into Mother's activities truly raises the threat level in Batman and Robin Eternal and makes the final page featuring Dick, Jason, Harper, and Cass jumping in the Bat-plane feel ominous although outwardly it looks like a globetrotting adventure. Daniel conveys this with the first look at Mother's, well, maternal eyes covered in shadow while Morey pours on the blacks on the Batplane signifying that Batman and Robin Eternal #6 is the first step in a darker direction for this title.

Batman and Robin Eternal #9 has brutally choreographed fight scenes from artist Roge Antonio, and scripters Jackson Lanzing and Collin Kelly craft the start of an intriguing team-up between Red Robin, Red Hood, and Bane against the Order of St. Dumas, and Azrael, who gets a speech to end all speeches complete with golden flames from colorist Allen Passalaqua on the final page. And along the way, Lanzing and Kelly turn in some solid character work with Harper and Mother. Having a villain who tells the truth is always more frightening, and this is what she does with Bruce Wayne, who turns orphans into warriors just like her.

This book truly feels like a passion project and transported me to a bittersweet day six years when a closeted, sad teenager listened to the CD of The Rise and Fall of Ziggy Stars and the Spiders from Mars and felt "not alone". It's a must read for any Bowie fan, especially those who love his early-1970s work the best.

If you'd rather watch old Sopranos episodes on HBO Go instead of the latest Marvel Cinematic Universe blockbuster for and are okay with a touch of Philip K. Dick to go with your turf wars, Civil War II: Kingpin#1 may be the comic for you.

Clueless Senior Year certainly isn't a Monet (This is a compliment FYI.) and gives some amazing character development to Cher, Dionne, and Tai while rocking hilarious, pop culture infused dialogue from Amber Benson and Sarah Kuhn plus some of the most stylish fashions you'll find in comics from Siobhan Keenan and Shan Murphy. In its references and fashion, Senior Year is very 90s, but its themes of independence, identity struggle, and coming of age are timeless just like the original film.

Collapser #1 is characterization meets strong visuals and colors with a side dish of trippy worldbuilding to literally suck you into the story. Mikey Way and Shaun Simon make Liam a little bit of an asshole; he's not the greatest towards his girlfriend and is a little insensitive at times. However, Liam's passion for music and fear of failure are all too relatable. He makes a great POV character for this wild space odyssey of which Collapser #1 is a solid first few steps.

But Daredevil is also rekindling his spiritual side, which is a positive way to deal with guilt and loss. He's definitely a complicated guy.

I'm here for Stephanie Hans' fantasy world construction inDieand Kieron Gillen's tempering of the joy of fantasy with the horror of loss.Die#1 makes a smart choice by presenting character dynamics in the foreground and cool, scary fantasy world-building in the background. But Hans' memorable visuals is what will stick with me the most. Never has the casual roll of dice had so much power.

Generation Gone#1 is a beautiful marriage of character study and ideas with just a pinch of techno-horror and is a pleasing comeback for Ales Kot.

The dinner party is a time-honored sitcom setting to have different sets of characters bounce off each other and also create change, but John Allison, Max Sarin, Liz Fleming, and Whitney Cogar put a bit of a Giant Daystwist in it with plenty of awkwardness and over the top jokes.Giant Days #23 is worth picking up for the interactions between Ingrid and Dean alone, which are truly "avant-garde cabaret" and for finding out the amazing reason why the cops get called on it.

Giant Days Holiday Special 2017is figgy pudding proof thatGiant Dayscan get experimental, weird, and do a 40 page riff onLove Actuallyand still be a fantastic comicbecause of the humor, adorableness, and friendship at its core thanks to John Allison, Jenn St. Onge, Sarah Stern, and Kieran Quigley. In the tradition ofDoctor Whoand other British things, I hope there are many more of these light and clever Holiday Specials.

One of the highlights ofGonersasa series is that Jacob Semahnand Jorge Corona remember how kids talkand reactat differentages. Semahn putsubtle touchesin Josiahand Zoe's dialogue with words like “stupider” reminding me of arguments with my siblings even if their situation is definitely more high stakes.Goners#6 is the final stages of the crucible that Josiahand Zoe have struggled through in thisarc,and Semahn ties up the threads of the Latimers' past with who theyare in the present to createa grand crescendo.Gonersisa coming ofage story, but with supernatural intrigue, badass monsters,and just enough gore and chills to make horror fans smile.

Gotham Academy#9 has a wonderful balance of haunting painted art and expressive cartooning from artist Karl Kerschl along with a symbolically powerful eerie blue and fire red palette from Serge Lapointe and Msassyk. This artwork complements writers Becky Cloonan and Brenden Fletcher's nimble use of their diverse cast of characters along with the monster action and foreboding mysteries revealed along the way.

Like the twin dramatic masks, Gotham Academy #10 straddles tragedy and comedy. There is a lightness to Maps, Pomeline, and Olive throwing themselves into the roles of the Three Witches in a visual treat of a montage from Kerschl and company even though Macbeth is Shakespeare's second bloodiest tragedy. On the other side of the coin, there is Katherine uttering the fatalistic line, “For such as we are made of, such we be” against a single red curtain before she collapses into Clayface. This is line is from Twelfth Night, a classic comedy of errors. (It's much better than the actual Comedy of Errors, which is Shakespeare trying to hard to be Plautus.) Becky Cloonan and Brenden Fletcher utilize the timeless language of the Bard to give insights into the cast ofGotham Academywhile staging an energetic battle of wits. This makes Gotham Academy#10 both a poignant and entertaining read.

Even if the narrative gets darker around the edges with the introduction of Mrs. Jones' connection to a probably evil Siberian scientist and the general media storm, Huck #2 continues to be a study in optimism for Mark Millar and Rafael Albuquerque. Huck continues to help ordinary people in extraordinary ways even if he is surrounded by news choppers and random people. At this point, Orlov doesn't quite fit into the story and is a throwback to Russian villain trope, but Huck #2 more than makes up for this slight hiccup with evocative storytelling, a hopeful tone, and the introduction of tension in the plot for this exemplary hero.

Just like its protagonist at times,Iceman#1 is a highly confident start to Sina Grace, Nathan Stockman, and Federico Blee's new series. It gives Bobby both a personal life as well as integrating him into the X-Men as a team, has well laid out action, and the most groan-worthy of dad jokes plus quirky banter between him and Bishop. As an added bonus, Grace writes the Morlocks with respect and empathy transforming them into badasses, who fight for their home and friends and won't conform to society's standards instead of empty cannon fodder like in the original “Mutant Massacre” story.

Iceman#5 is a powerful, cathartic end to the first arc of the comic and showed me that I'm not alone…

Especially when coupled with the actual letter than closes out the book,Jessica Jones#18 is a fantastic love letter from her co-creators Brian Michael Bendis, Michael Gaydos, and Matt Hollingsworth to one of the most engaging new comics characters introduced this century. Jessica has been through a lot of shit and hides her emotions via snark and sometimes alcohol, but she also helps people in her own way and champions those who might be forgotten or even attacked by the more spangly and showy characters in the Marvel Universe.

Jughead #3 mixes a little bit of sad and little bit of surreal pop culture homage/parody/tribute/however the hell you want to read it with a whole lot of funny as Chip Zdarsky and Erica Henderson put the whole town of Riverdale to work as the series' plot gets just a tad weirder. Also, Jonesy should get his own spinoff one-shot or miniseries.

Kim Reaper#1 is a cute, funny comic centered around a queer romance that anyone who has had an unreciprocated crush or a job that consumed their life can relate to. If you likeGiant DaysorBee and Puppycat, but wished they were spookier, this comic is for you.

Marauders #21 is the first chapter of a new kind of a crossover, and I, for one, welcome our fabulous mutant overlords and look forward to seeing how these powerful, flawed characters screwed it up in the upcoming issues of “Hellfire Gala”.

Marauders #1 is full of adventures, flawed, yet badass queer characters, and also features intrigue and deep cuts from the Marvel universe in a nice action mystery package. The team has a focus, but Orlando and Carlini aren't afraid to explore interesting rabbit trails along the way.

In Marvel Two-in-One#1,Chip Zdarsky, Jim Cheung, John Dell, Walden Wong, and Frank Martin craft a comic that is true to the legacy of Marvel's First Family and deals with the emotional fallout of their disappearance at the end ofSecret Wars. They also set up a rocky course for the Thing and Human Torch to begin their own adventures with Dr. Doom watching from the shadows as he is still a little salty that he is not the one responsible for Reed Richards' demise. Marvel Two-in-Oneis the first step of a road story featuring two brothers that butt heads, yet still love each otherwith plenty of nostalgia and a sliver of hope to boot.

InMidnighter and Apollo#2, Steve Orlando, Fernando Blanco, and Romulo Fajardo show the bond between Apollo and Midnighter mostly through Midnighter's ceaseless pursuit of violence and even magical means to save his love and help. Blanco's skill at layouts makes the reality bending and action scenes super thrilling, and he can also slow down and bask in emotions like when Midnighter cradles Apollo's lifeless body. It's yet another violent, vulnerable chapter in a miniseries that looks to get even more exciting thanks to the final page with its great Midnighter one-liner.

There is one scene of clunky info-dump when a friend of Maika's mother tells and sadly doesn't show some key backstory information about her relationship with Maika's family and a plot element that may be of future importance. However, Monstress #1 is well worth a read because of Marjorie Liu's nuanced characterization, especially of Maika, Sophia, and Tuya in the flashbacks, and application of real world themes into an apocalyptic urban fantasy universe with intricate architectural, character, and monster design from Sana Takeda. It is full of female characters, who aren't necessarily role models, but have rich inner lives and motivations. You'll come for the sun-kissed shelves of Sophia's library and the establishing shots of the Mieville-esque city of Zamora where Sophia does her “research”, but will stay for the hard hitting, emotional story of a young woman named Maika, who is overcoming the very literal monster within her freedom seeking soul.

In Mycroft #1, Kareem Abdul-Jabbar and Raymond Obstfeld craft a protagonist that is basically the Tony Stark of the Victorian Era. He is a polymath, can solve a mystery while burning you with a one liner, and has a kind of roguish charisma whereas his brother Sherlock can only stutter his future catchphrase. (And if basketball was invented, Mycroft would probably have one hell of a skyhook.) Artist Joshua Cassara adds to Mycroft's appeal by drawing the lazy, self-absorbed genius exuding great confidence with winks and smiles while the people around him are crying out with outrage. By the time the issue closes (With a joke and a cliffhanger.), you're not sure if you want to be Mycroft or be with him, and you will definitely prefer him to Sherlock.

Night Fever is a midlife crisis dressed up in Day-Glo with insightful scripting from Ed Brubaker and dreamy art from Sean Phillips plus some of the best coloring work ever done by Jacob Phillips. It's best read late at night before getting up for your shitty day job and succeeds both as a character study and a thrilling genre story with a unique visual language that makes it stand out from Brubaker and Phillips' other collaborations.

With its connection to real world problems, a murder mystery that doubles as a moral dilemma, and David Walker's ability to get Nighthawk a distinct voice from the quick, self-aware wit of supporting cast members, like Tilda and Detective Burrell,Nighthawk#1 is a strong debut issue. Ramon Villalobos and Tamra Bonvillain bring the rage and altruism of the protagonist while building the world of corrupt, classist, and racist Chicago in the Marvel Universe that is part over the top revenge thrillerand part ripped from the headlines.

Writer James Wright handles the main "rise of a criminal kingpin" plot while also continuing to flesh out the supporting cast as Marjorie becomes a likable figure in this issue as she tries to cheer up Saffron while also chasing her own dreams as an artist. Artist Jackie Crofts and colorist Josh Eckert turn in some of their most eye popping visuals making the brownies look mouth watering with a rich brown color and heavy line work to go with the sketchier figures.

Hellcat #10 balances inner conflict with action and comedy as Daimon Hellstrom and Mad Dog still fighting over Patsy is the height of farce. Kate Leth also subverts the “heroes fighting each other just to fight” (See Civil War II.) trope and has Jubilee explain to Daimon and Mad Dog why Hedy Clarke is manipulating them in a single, logical page. Add the ever-shifting backgrounds and color palettes from Brittney Williams and Megan Wilson, and Hellcat #10 is a milestone issue in Patsy Walker's journey to cast off the shackles of her past and help the young superhumans of New York.

Hellcat #11 brings a new level of chaos to the series as Black Cat and her girl gang disrupt Patsy Walker's temp agency for seemingly no reason except to mess with her. However, the previous relationship between Zoe and Ian as well as the fact that Zoe was evicted by Patsy's landlord adds some nice connective tissue to the earlier issues while still injecting some fresh energy into the comic. Also, as seen in the final page, Kate Leth and Brittney Williams' Black Cat has kind of a mean streak and isn't just the flirtatious anti-hero that occasionally smooches Spider-Man. Rad jackets aside, she isn't someone you would want to hang out with unlike Ian Soo despite his high levels of melancholy in this issue.

Hellcat#12 has quick, visual laughs (Any time Jubilee shows up.), spends a lot of time looking into Ian's motivation into becoming a hero, and has quite the theatrical villain. It's another win for Kate Leth, Brittney Williams, and Rachelle Rosenberg, and an argument for why Ian Soo really needs a miniseries with crop tops andHamiltonreferences turned up to eleven.

If you like punching and feeling smart because you read Watchmen that one time, Peter Cannon, Thunderbolt #1 is the comic for you. Or maybe it despises you for playing devil's advocate in the class discussion about Ozymandias or Alan Moore and Dave Gibbons' portrayal of women.

With a breathtaking chase sequence that makes up the meat of the issue and art that is easy to follow, Pirate Princess #1 is accessible and entertaining even for readers who haven't read Princeless. (Like this reviewer.) It tells a story that sexist marketing companies would wrongly place in the "boy" category with two female characters, who aren't friends, but aren't enemies because they're fighting over a boy. Raven and Sunshine are both pirates, and Raven took Sunshine's money, hence, they're enemies. Writer Jeremy Whitley gives the beginnings of a believable arc for Raven as she struggles to become the Black Arrow, and this one of the many reasons why Pirate Princess #1 is a unique, fun, and slightly subversive entry in the pirate genre.

Rocket Girl#6 isa high-flying return for the seriesas Montclareand Reeder explore what makes DaYoung Johnasson tickasa person/superhero/cop witha helping of humor, moral dilemmas, and the clever panel layouts that has becomea trademark of the comic.

Rocket Girl#8 has plenty of action, and Amy Reeder cuts loose with beautiful, streamlined flying sequences and intense argument. Dayoung belongs in a utopian future, but is stuck in our crappy past. Brandon Montclare and Reeder really build up the overarching threat of Quintum Mechanics in the issue and set up a difficult time-spanning, uphill climb of a throwdown for Dayoung, Gomez, and their allies.

With its focus on building a connection between Miles and Gwen instead of multiverses and annoying supervillains,Spider-Gwen#16 is superior to the opening chapter of the “Sittin' in a Tree” crossover. The final night club scene also ups the intrigue as Robbi Rodriguez and Rico Renzi continue to (web) sling out the cool visuals.

Even if you're way behind on Marvel's Star Wars comics, Star Wars Annual #2 is worth picking up as Kelly Thompson and Emilio Laiso craft a protagonist, who doesn't look or think like many of the other main characters in the Star Wars universe.

Static: Season One #6 features unique visuals and high energy storytelling from Nikolas Draper-Ivey while showing Static truly coming into his own as a superhero. Vita Ayala and Draper-Ivey use superpowers to explore big universal ideas like family, community, and power structures in an action-driven narrative. I'm definitely looking forward to Season Two, and there's much to explore with mysterious villains as well as Static's non-family supporting cast that were such a memorable part of the original comic and WB Kids cartoon.

A short rough patch aside, Swords of Sorrow #4 unites its cast members under a banner of freedom and anti-heroism. Gail Simone and Sergio Davila flat out have fun bouncing characters, genres, and settings off each others with funny one-liners and small set pieces in what could have been a table setting issue. This crossover continues to get better with age even if its characters continually lose track of and joke about what era they are in.

Swords of Sorrow #6 has a couple predictable moments (Snow White is actually a shapeshifter.), but this is drowned out by the sheer volume of action, comedy, and female camaraderie that has been this series' hallmark from Gail Simone, Sergio Davila, and Jorge Sutil. I am still in awe of the fact that even less used characters like Pantha, Jane Porter, and Masquerade had pivotal roles to play in this finale as they drive the twisted embodiment of the patriarchy back to the chasm from whence he came.

That Texas Blood #1 is a fantastic debut crime comic from Chris Condon and Jacob Phillips. Phillips' art and colors are stylish and add extra feeling and tension to Condon's script. Together, they craft a world and protagonist that I want to know more about, and that's what you want out of a first issue. And as a cherry on top, they turn the casserole dish, which is ubiquitous in Southern culture, into an amazing MacGuffin.

Chilling Adventures of Sabrina #9 is a solid return for one of the best horror comics of 2010s. Roberto Aguirre-Sacasa and Robert Hack don't shy away from putting their heroine through the moral wringer in this issue and continue their unified field theory of horror approach by adding serial killer to the mix with the usual supernatural denizens of the series. The scenes featuring Edward Spellman are pretty unsettling too, but don't overwhelm the issue thanks to the longer panel time for Sabrina (and Salem the mouse) and Madam Satan.

The Department of Truth #1 is an engaging debut issue with James Tynion tapping into the expansive worldbuilding of his previous titles like Memetic and its sequels while Martin Simmonds shows that painted art can have a few, new tricks up its sleeves in 2020. They also introduce some actually compelling mysteries and tap into our fearful zeitgeist where believers and spinners of harmful conspiracies have entirely too much power.

The Dreaming: Waking Hours #3 features magic, even more chaos, surprise cameos, and a visually striking look at human problems through angels, anthropomorphic embodiments, witches, fairies, and dead authors. G. Willow Wilson, Nick Robles, and Mat Lopes have crafted both memorable characters and settings, and I care equally as much about Lindy, Ruin, Jophiel, and even Heather as I do about their take on the Shakespeare authorship question and additions to the Sandman mythos.

The Goddamned #1 is a masterful, unrelenting portrayal of the world of the book of Genesis from artist rm Guera and colorist Giulia Brusco, who invoke the senseless violence, godlessness, and general lack of order that makes basically every dystopia you've read about look like a dystopia. Jason Aaron adheres pretty closely to the Biblical narrative while making his protagonist Cain a more complex figure than he was shown to be in Genesis 4 while still building off his internal feelings shown in this story. All in all, The Goddamned #1 shows that the Book of Genesis was the great grandfather of the post-apocalyptic genre and is filled with imagery that will challenge and disgust readers while making them ponder their own beliefs and relationships with classic texts. Plus Guera's art kicks ass!

With a blockbuster opening sequence, a couple interesting lead characters, and masterful visuals from Olivier Coipel and Dave Stewart, The Magic Order#1 is the start of a beautiful partnership between Mark Millar and Netflix and a nice sop to those who have grown a bit cynical towards adults whose only reading is the adventures of a boy wizard…

Skepticshas been an exciting, twisting and turning Cold War thriller, but what will make me remember it fondly are the personalities and quirks of the characters created by Tini Howard and Devaki Neogi. From Dr. Santaclara's passion and inability to sit still to Max's charming glimpses and flirty one-liners to Mary's determination to break both gender and race barriers in her field and amazing fashion sense, I could have definitely spent more than a miniseries with this cast and seen more of this 1960s alternate history world, which eerily mirrors our own reality in 2017 with both times having underqualified billionaire princelingssitting in the Oval Office.

This one is for the MCRmy, Timothy Leary followers, aging crust punks in cubicle prisons, folks who prefer vinyl to streaming, and anyone who wants to give the middle finger to the current status quo.

WicDiv#19 deepens the evil of Ananke and the characters of Minerva and Dionysuswhile having some pyrotechnics-filled god battles from artist Jamie McKelvie and colorist Matthew Wilson.Writer Kieron Gillen also starts to hint at Persephone not being the heroic, divine upgrade of Laura that fans expected as both the sky and underground Pantheon are cast in a net of lies, strained relationships, and volatile personalities. Morrigan and Baal are definitely the proverbial waterand oil mixture (Or Yeezy/Nightwish mashup I never knew I wanted.) after this issue despite not interacting too much before.

Uncanny X-Men #600 features some of the most visually pleasing superhero art of 2015 and is a thematically rich conclusion to Brian Michael Bendis' X-Men epic. It casts aside the action for 36 pages of well-earned character interaction and progression from Beast's fall into villainy to Jean Grey and young Beast's romance and the older Cyclops' well-worn and still criticized path to leadership and change. For me, the best part was the older Iceman coming to terms with his sexuality and realizing that being out could improve his life as both a hero and person in a slightly awkward sequence filled with hope, heart, and humor. Brian Michael Bendis ends his time on the X-Men on a note of victory and family reunion, but with just a touch of darkness

With two memorable leads and a focus on showing readers what it's like in the universe instead of exhaustively explaining its rules, Vampire: the Masquerade #1 is an enjoyable read even if you're not familiar with the RPG. The dual nature of immortality shows up a lot in the comic, but Tim Seeley, Tini Howard, Blake Howard, Devmalya Pramanik, Nathan Gooden, and basically Gothic set-dresser Addison Duke dive into other implications of being a vampire in this world like navigating bureaucracies and complicated interpersonal relationship. Hey, it sounds like the real world, but with hotter outfits, blood, and fangs.

Kate Leth's script forVampirella#1 is witty and worldly combining quick hittingbanter with Old and New Hollywood scheming. Slade might dress like a 1930s starlet, but her techniques for getting at Vampi are veryTMZ.Artist Eman Casallos cuts up the page with multiple panels and plenty of space between them to show Vampirella's speed as she dispatches Slade's goons, who interrupt her sexy time and singlehandedly brings vampire clubs out of cold storage. Colorist Valentine Pinto goes dark with her palette, but differentiates the steamy silhouettes of Vampi and Tristan rolling around in the sheets with the stark black and blue horror of the victim of the month in the comic's opening.

Vision#7 is a shining example of using continuity to enhance a series and a character as Tom King uses Vision's past struggles with deception and starting a family to inform his current reality. There is also a nice twist towards the end that shows why his family in the currentVisionis so Stepford-like that is set up by Kurt Busiek and George Perez's excellent run onAvengers. Vision wants to have the idyllic, suburban life with two kids, a wife, a dog, and PTA meetings and will, but as we've seen so far, that this includes compromising his moral and heroic compass. Relationships are organic, not synthetic, and King, Walsh, and Bellaire show this in the flashback scenes with Scarlet Witch that are sexy and adorableat times that contrasts with his current, almost lifeless relationship with Vivian.

We Are Robin #6 is an emphatic conclusion to Lee Bermejo, Jorge Corona, Rob Haynes', and Christine Duarte Peter's first arc of this ode to ordinary teens' thirst for justice. Each member of the We Are Robin crew gets a spotlight moment or two against the basically unbeatable Talon, and their flaws are clearly on display. The inclusion of the media POV on things is a harsh satire of the mainstream news media's distrust and/or disdain of teenage activism while also establishing the Robins as legit heroes complete with their own powerful, skeptical naysayers in the tradition of J. Jonah Jameson and other fictional personalities too numerous to list.

We Can Never Go Home #5 has several dramatic reversals and gut punching action sequences, but writers Matthew Rosenberg and Patrick Kindlon never neglect the extremely different character arcs of Madison Munroe and Duncan Schmidt.

Welcome to Showside #1 is a partially light, partially dark introduction to the fantastic world of Showside as writer/artist Ian McGinty shows Kit and his close knit group of friends at play and at action in a bright, playful art style that looks like animation with a touch of retro video games. Throw in a funny backup story with art from Carey Pietsch (Marceline Gone Adrift), and Welcome to Showside #1 is a spoopy trick or treat for your eyes and funny bone with relatable characters and fantastic worldbuilding just in time for Halloween.

Welcome to Showside#5 ties a nice bow on this dark, yet adorable world crafted by Ian McGinty, Samantha Knapp, and Fred Stresing with plenty of action, humor, and heart. McGinty and Knapp give supporting monsters like Climp plenty to do in this final issue as they make the great point that no one is fully evil or fully good. Kit has also become quite the three dimensional character to go with his nifty design and hopefully there will be more adventures with him, Moon, Belle, and Boo in the future as the Shadow King is still a threat.

If you like slow burn, character-driven mystery stories with quirky leads, then Wicked Things is the comic for you. The sheer absurdity of a teen detective awards show and convention makes it a showcase for comedy and fashion choices. (Claire rocks the Fleabag jumpsuit.) But, hey, there's murder too.

WildCATS is definitely a throwback to the Extreme 90s and the wide screen 00s, but with modern, bleeding edge visual storytelling from Stephen Segovia and smart writing and straightforward plotting from Matthew Rosenberg.

Benjamin Percys choice to filter the story through Beasts POV and showing behind the hood of his orchestration of the mutant CIA gives X-Force #6 incredible narrative focus to go with Stephen Segovia and Guru e-FXs precise, powerful visuals. Its a memorable addition to the Dawn of X books ongoing saga of a presumably utopian society uses decidedly non-utopian methods to maintain it with X-Force definitely getting to explore the non-utopian part in a creative way with a fantastic ensemble cast.

In issue two, Zodiac Starforce starts to go beyond its influences and becomes its own story as Kevin Panetta and Paulina Ganucheau give each team member their own mini-arc to go with the demon fighting from Emma struggling with sickness to Savi starting to fall for and open up to Lily and Molly and Kim's volleyball hijinks. The Ganucheaus' art and colors continues to be stellar with unique panel layouts for the action scenes and a careful use of close-ups for emotional scenes like when Savi starts to tell Lily about her powers. I was thrilled by the fight scenes and really started to care about the character by the end of the issue.

Even though it's a non-stop action thrill ride with a garish color palette from Taki Soma and uniquely kinetic art from Michael Avon Oeming that's an argument against house styles, Midnighter Annual is another installment in the beautiful love story between Midnighter and Apollo, but with some very trippy obstacles. Add in the everyman vibe of Shilo Norman plus the sense of humor in Conrad and Cloonan's script, and this is is the flashy conclusion to this Midnighter arc that his fans deserve while cementing Andrej Trojan as a memorable member of his rogues gallery as he tries to avoid the thing that closes all of our loops, er, lives aka death.

As the second chapter in an epic arc,Aquaman#26 does its fair share of setup, but it's far from boring as Dan Abnett transitions Aquaman and supporting cast members, like Mera and the earlier mentioned Cetea into new roles. The villains aren't as interesting with the exception of Krush, who is a mutant, yet still is loyal to Rath for now. Finally, there's Stjepan Sejic's thrilling fantasy art that makesAquamanstand out from the other house style DC superhero books and transforms Aquaman into the king in exile, the Aragorn of the open sea.

Archie #3 introduces Veronica to the cast of characters in a visual appealing and charismatic way as Mark Waid's teen soap opera plot gets a touch crazier and gains some new pet names, and Fiona Staples scores some laughs with her art of Archie getting strung along by Veronica.

Moreci, Gooden, and Duke definitely stick the landing in Barbaric #3 shooting for both big character and action beats while ending things on the jokey tone that has made this series so endearing. If you want a fantasy comic that isn't full of shit and is self-aware, violent, and makes you deeply care about its (not so) golden trio, the three issues of Barbaric are worth seeking out.

Batman/Superman: The Authority Special shows that a creative team other than Grant Morrison and Mikel Janin can tell a compelling story with this cast characters, and I'm excited to see some of the character moments, such as Lightray going from being hero for fame to being in real action or Apollo and Midnighter working on the whole no-killing thing, expanded up on in future issues of Action Comics from Philip Kennedy Johnson. Paper-thin villain characterization aside, this book is a solid one-shot adventure with an eerie setting thanks to memorable art from Ben Templesmith plus loads of funny interactions between Batman and Midnighter.

With dashes of humor and character insights from Tim Seeley, gorgeous costuming and fight choreography from Javier Fernandez and Hugo Petrus, and a glitzy, grimy, and just plain red color palette from John Kalisz,Red Hood vs. Anarky#1 is another successful Bat-family-centric one-shot in the run-up to Batman and Catwoman's wedding. It even has some semi-controversial political commentary to boot.

I recommend Chrononauts #1 for Murphy's art alone as he brings his muddied line style to the past and present. (There is one two page sequence that made the history nerd in me smile.) The two main characters kind of seem incredibly smug, but like his work with some of the Marvel heroes, Millar gives them some relatable qualities and flaws so they're not wholly unlikeable. This comic is character-driven and sets up the time travel program through exposition and art, but don't be afraid, some time travel does occur, and you'll actually care about the people doing the traveling.

Danger Street #3 feels both Biblical and slice of life, nostalgic and forward-thinking, and I look forward to seeing Tom King thread these disparate characters closer together.

Eternals #10 uses the focus of an infiltration mission to flesh out its large cast's personalities while also sowing the seeds for a conflict with the Avengers with Esad Ribic's art ranging from statuesque deities to light comedy. While this is going on, Gillen continues to craft Thanos' arc as he wields moral dilemmas and family trauma as weapons instead of finger snaps and flashy jewelry. Kieron Gillen's take on Thanos is quickly becoming one of my favorites as he continues to add new wrinkles to the usual Big Bad formula. I can't wait to see what devilish conundrum he comes up with next.

Overall, Future State: Immortal Wonder Woman #1 has one strong, epic story and another story with potential that it doesn't fully live up to that also shows the difficulty of transitioning from prose fiction to comics. However, this book is definitely worth picking up for Jen Bartel's career best take on the final battle between good and evil in the DC Universe with punches that make galaxies trembles and facial expressions that will make you tear up while Becky Cloonan and Michael W. Conrad write a Diana, who is trying to cling onto hope in an utterly no-win situation.

Jeff Rougvie's wealth of experience in the music industry and a strong mysterious backstory hook plus Moritat and Casey Silver's flexibility with the visuals make Gunning for Hits #1 a strong start to a series that is filled with both passion for the pure pop single as well as cynicism towards the whole soulless enterprise around it. It pairs well with “Ashes to Ashes”.

Helen of Wyndhorn #1 uses the trappings of classic fantasy and historical fiction to begin to tell a wayward daughter/estranged and idealized father story. The “hook” of the series doesn't hit until towards the end of the book, but Tom King, Bilquis Evely, Matheus Lopes, and Clayton Cowles use these early pages to create a magical setting and a mundane narrator as well as the beauty and danger of portal fiction. Spoiler alert for a 68 year old book, but 95% of the cast of Chronicles of Narnia did die in the final book in the series…

Hellblazer Rebirth#1 is a solid standalone John Constantine tale that has high stakes, plenty of making deals with demons, snarky comments, a twist that will make hardcore Hellblazerfans wet themselves,and even a dash of British culture. Simon Oliver and Moritat get a tiny little political as it's implied that Constantine leaves New York because of Donald Trump's presidential candidacy and a Tory sign waver gets temporarily infected by his contagious curse, but it's no demons watching Margaret Thatcher speeches from hell. (While she was prime minister.) And it's worth the $2.99 alone to see the sense of casual disdain that Moritat gives to his renditions of John Constantine.

Iceman #11 hasinsightful flashbacks where Sina Grace shows his skill as an artist and riffs off the style of Jack Kirby, (possibly) Steve Ditko for the sad young Bobby at home scenes, Jim Lee, and even Stuart Immonenplus aplot featuring a one two-punch of cool ice/earthquake powers and human empathy. The series as a whole has been up and down, but Grace, Robert Gill, and Rachelle Rosenberg end it on a positive note with Bobby starting to realize his potential as both an X-Man and a single, gay man.

Part road story, part monster story, Al Ewing, Joe Bennett, Ruy Jose, and Paul Mounts'Immortal Hulkis a master class in pacing and build up fleshing out characters, like Walter Langkowski, and then turning the tables because control is a myth when there is a gamma powered monster inside you.

Not really in content, but in form, Rain #2 reminds me of the better Vertigo books which would pair a prose stylist with a skilled visual storyteller to create comics bursting to the seams with information while also being fun to read and follow.

Although its characters behave in unrestrained manners and constantly try to outdo each other in the matters of eccentricity, Ludocrats #1 is a comic that's fairly easy to follow. Its focus is two main characters and a variety of visual and verbal jokes. Instead of relying on boring exposition (This is actually a plot point), Gillen, Rossignol, Stokely, and Bonvillain throw you straight in the middle of the world without a life vest. This is an admirable storytelling point, and Ludocrats #1 is a true party of a comic that you should safely try to acquire when it's released.

The comic strikes the perfect balance between nostalgia and character study and has some big action scenes to boot like a Danger Room showdown between the New Mutants and Brotherhood.

Steve Orlando, Stephen Mooney, and colorists Romulo Fajardo and Jeromy Cox are in fine form in Midnighter #5 bringing the witty one-liners and ultraviolence that has become this series' formula while adding some extra moral dilemmas and eccentricity thanks to our special guest star Dick Grayson. However, everything isn't fun and games as the issue's final page cliffhanger hits Midnighter in what his closest equivalent to happy place and adds another layer of mystery to the proceedings.

Midnighter #8 has a gross, clever team-up plot from writer Steve Orlando and artists David Messina and Gaetano Carlucci that connects thematically to Midnighter's past as Gardener's lab rat as well as his upcoming mission for Spyral against the Suicide Squad. Messina's layouts are a little dialed down compared to ACO's, but he does a better job conveying emotion, especially when Midnighter is reflecting about his past relationships. Overall, this is another well-choreographed and witty issue of Midnighter that sets up some thrilling future developments while telling a self-contained weird fiction meets action movie tale.

Moon Man #1 captures the tension between resigning one's self to the rat race and wanting something more in a gorgeous take on superhero and science fiction stories.

Ed Brisson, Flaviano, and Carlos Lopez spin a typical team rescues a mutant whose powers are out of control from a society that hate and fears her story in New Mutants #9. But Flaviano and Lopez's art is so breathtaking, and Brisson creates almost effortless chemistry/dysfunction between his large ensemble cast that I didn't even notice that this is an X-story that has been told dozens of times before. Also, the ending creates even more opportunities for moral complexity and conflict between different mutant factions even though Krakoa is a “paradise”.

Personally, I loved this comic because I enjoy character-driven teenage, coming of age stories (like Ultimate Spider-Man and Runaways) with quick, witty dialogue. De Campi and McNeil do deliver a nice dose of humor with their characters' foibles (and occasional snark) and use the occasional funny line to poke at American exceptionalism and privilege.

Nutmeg #4 is a fun and refreshing comic because it shows that not just chain smoking, middle aged white men can be detectives and criminal masterminds. Jackie Crofts' art is light and upbeat, and James Wright's writing is clever in both plot and dialogue while continuing to develop the key relationship between the two outsiders turned culinary crime kingpins, Poppy and Cassia. (The spice puns will never not be funny.)

InRunaways#4, Rainbow Rowell, Kris Anka, and Matthew Wilson resist the temptation to get the band back together and have them hitting the road and avoiding evil adult types. That story was told back in 2003 by Brian K. Vaughan and Adrian Alphona and in 2017 on Hulu. Instead they explore the messiness of picking up relationships after a long gap in communication. But with more robot boys and a dinosaur that is more cat that pre-evolved bird.

Death and rebirth: it's doesn't get more beautiful and poetic than that.Shade the Changing Girl#12 explores these universal themes through the insights and character arcs crafted by Cecil Castellucci; the clean, yet bad dream-like art of Marley Zarcone and Ande Parks, and Kelly Fitzpatrick's kaleidoscope rainbow color palette. It also sets up a newly whole Shade the Changing Girl for more adventures as a human girl.

In the final analysis, Snake Eyes: Deadgame #1 is a damn good ninja comic, a showcase for Rob Liefeld's action storytelling, and in my case, a strong introduction to the G.I. Joe universe. This first issue shows Snake Eyes' strength as a solo act, and I'm interested to see what Liefeld, Chad Bowers, Adelso Corona, and Federico Blee do with an ensemble cast in subsequent issues.