Colorist Matt Milla expertly conveys the tone of the narrative, building off of Leon's artwork. While Milla does employ the same palette over the majority of the issue, he periodically strays from it in order to skew the palette towards Walters' state of mind. For example, Milla uses sharp, bright colors to highlight the frustrated peak of Walters' panic attack, and swathes entire panels in a muted blue during its aftermath, in order to communicate her utter despair to the reader.

ROCKET RACCOON is dark, political, and violent. Don't pick it up expecting to find another happy-go-lucky Rocket and Groot jailbreak adventure. It's certainly not goofy, by any means " unless you consider assaulting a police officer with a cheeseburger 'goofy,' in which case, yes, it's very goofy. Many thanks to the creative team for giving us our medicine with sugar.

While I was initially outraged at the nature of the new host, given that the symbiote had grown so much while partnered with Flash Thompson, I now view the new partnership as an opportunity for growth. Will the Venom symbiote revert back to its old ways, giving in to Price's self-serving ways? Or will it overpower Price and either compel him to do good, or leave in search of an entirely new host? Only time will tell!

DEAD NO MORE is shaping up to be the most engaging Marvel event in years. Though it does not include the entirety of the Marvel universe, it delves deeply into that which it explores. Though I myself am a devout reader of AMAZING SPIDER-MAN and its associated titles, I do not think that DEAD NO MORE's depth serves to make it exclusionary to more casual readers. I believed the Marvel multiverse to be no more, post SECRET WARS, however, this does not seem to be the case.

Riri Williams is not Tony Stark, and as such we should not belittle her emergence as a hero by comparisons between the two. However, knowing the nature of the internet, I know that this is too tall an order. The most we can hope for is that Riri herself will stop making these comparisons, and accept her role as a unique hero, rather than just her predecessor's replacement. She has some big armor to fill, but there's no doubt in my mind that she'll do just fine.

Artistically, CLONE CONSPIRACY feels anachronistic in comparison to other AMAZING SPIDER-MAN comics in recent years. The combination of Cheung's realistic figures, Dell's moderately heavy inking, and Ponsor's muted color pallette gives CLONE CONSPIRACY #2 a more retro vibe, as if they channeled the 1970s during production, which is fitting, given the resurrection of many of Spider-Man's iconic baddies who made their mark on the title decades ago. As a whole, CLONE CONSPIRACY #2 is a phenomenal issue, even better than the last. This event is a must-read for any fan of Spider-Man. Don't wait for the trade to come out. Go to your local comic store, and pick this up as soon as you can.

While the direction of DEATH OF X is clear, its details are not. We already know that Cyclops will end up dead, or at least his friends will believe him be. This was revealed by Storm to Old Man Logan inEXTRAORDINARY X-MEN #2. DEATH OF X could play out extremely predictably, to fill in the gaps, as a means of getting readers up to speed before INHUMANS VS. X-MEN, but perhaps we'll be surprised. With only three issues left in DEATH OF X, I feel the plot should be moving a bit more quickly. This issue laid some solid groundwork and built a great deal of suspense, now Lemire and Soule need to deliver. Currently, we're missing crucialinformation as to the current surge in anti-mutant sentiment that has swept the Marvel universe: whatexactly did Cyclops do to cause it? Hopefully DEATH OF X #2 (out on 10/19/2016) will begin to provide answers.

DOOM PATROL is certainly not your average cape comic. For those of you who might be a little dissatisfied with any perceived monotony in the world of superhero books, DOOM PATROL might be just the thingfor you. DOOM PATROL #1 has proven to be a refreshing breath of air lacking in neither action nor characterization. It's going to be wacky, it's going to be dark, and it's certainly going to be different.

Black Mask Studios continues to impress with each new release but have outdone themselves with KIM & KIM #1, unquestionably one of the greatest series debuts I've read this year. The marriage of Visaggio's words and the art of Cabrera and Aguirre makes for a story that is entertaining, visually pleasing, and left me eager for more. The only upsetting aspect of this comic, is that we have to wait a few weeks to find out what happens next.

Double Take releases issues of all of its titles at the same time for a reason; they're meant to be read together. While it is understandable that someone who is not familiar with Double Take might not be enthralled with the latest issue of RISE, as someone who does keep up with all Double Take titles, I can say that I wasn't either. While RISE #4 is certainly stronger in every sense of the word than the title's last issue, it still doesn't hold up when compared to its first two issues. While it's full of small, yet recognizable details that connect to the other Double Take titles, this doesn't make the story progress any faster. What RISE #4 accomplishes inthirty-something pages could've probably been done in a little over ten.

I have a sinking feeling that Hercules might be on his way out of the Marvel Universe. However, for the minimal levels of importance his character has had over the last few years, he's being given quite the send-off. If you inany way enjoyed the story that had been unfolding in HERCULES, you'll love GODS OF WAR #1. Abnett's dialogue has yet to falter, and we're finally given some intense character development, which is sadly still a rare occurrence in superhero books. In terms of art, Laiso is able to capture both the frantic motion of giant brawls spanning entire city blocks as well as the stillness seen in Herc's realization that he had been left out by Iron Man and Captain Marvel, when the rest of the super-powered world had been called in to help.

I am beyond excited for the next installment in this event. The combined narrative power of Thompson, Hopeless, and Latour has raised the bar for what I consider powerful characterization. SPIDER-WOMEN ALPHA #1 kicks off an event that brings some much needed positive female representation to superhero comics.

Perhaps this is why Walker has already introduced a few characters from Cage's past to the new series"to lay a foundation that the Netflix series can call upon. While it may be nice for longtime readers to see the reintroduction of a handful of characters from the old HEROES FOR HIRE comics, it is important to remember that for Cage, this only serves as a reminder that no matter how much he grows, he will always be haunted by the ghosts of his past.

John Shaft's inner monologue is nothing short of phenomenal. Through flashbacks and commentary, Shaft is portrayed with a depth that he has not enjoyed in years. The comic's narrative reveals itself through Shaft, who acts as both its protagonist and its narrator. This is reminiscent of many old detective stories, a fitting approach given that Shaft's work as a private investigator drives the plot of the book. Walker never disappoints. I'm in constant awe of his ability to maintain such consistently compelling stories with so much on his plate. Fresh off SHAFT: A COMPLICATED MAN, as well as a prose novel titled SHAFT'S REVENGE, in the midst of a CYBORG run, and the forthcoming POWER MAN AND IRON FIST series, it goes without saying that Walker is both busy and in-demand.

While CHEW is great, issue #54 is just 'good'. If Layman was aiming to simply to advance the plot with this issue, he has accomplished his goal. However, there is too much filler in an already short issue for me to feel like I'm not being just a little cheated.