Matthew Rosenberg and Tyler Boss show a consistently strong grip on the character, tone, rhythm, and plot.

"8House" still strikes me as a more quiet and sensual series, and this first part of 'Kiem' maintains that feel. But it's a metropolitan quiet of tuning out all background noise rather than the quiet of no sound at all. So it feels like part of the shared world while also moving like its own thing.

Maybe isnt the best as far as first issues go, but definitely an ambitious and fascinating piece of work.

Fun, hysterical, and delivered with a complete and total understanding of the characters and this world, "Adventure Time" #35 is a satisfying topper to one spectacular run.

There's potential for this series to be as exciting as it once was, but the jokes are solid enough to keep me coming back.

"Adventure Time" remains one of the better licensed comics, even after 55 issues. The material still doesn't feel as adventurous or outrageous as when it began, but it's still charming and pleasant to see month after month.

I don't think the "2016 Spooktacular" is as memorable or great as past entries, but it does its job. The various artstyles are fun and keep your attention, while it seems like the creators involved have all latched on to different parts of the show and made it their own.

Hanna K. brings it all together to deliver one of the more memorable and well-done "Adventure Time" specials in a while.

Some great battles delivered with boss visuals. Not much headway in terms of plot, but plenty of adventure to go around.

“Age of Reptiles: Ancient Egyptians” is one of those books that won't take you long to read. However, it's a world you'll want to keep revisiting. The more often you return to it, the more you find to admire. Ricardo Delgado's storytelling sensibilities are aces. You're never at a loss for what's going on in the story, or who the characters are, despite not a single piece of sound or dialogue appearing. You're immersed in this prehistoric setting and you don't want to come out of it until the whole book is finished. And after that, you can't wait to return.

"Aliens: Defiance" #1 never really takes off, but it's not the worse "Aliens" story out there. A lot of it is fine, and there are some moments of well-built tension. But neither Jones or Wood offer much for it to stand out.

Of course, Robbie Reyes is returning in one of the “Secret Wars” tie-in miniseries: “Ghost Racers” and it looks intriguing. But that's a whole new series, and for a finale, “Ghost Rider” #12 just misses the mark.

"Aloha, Hawaiian Dick" #1 is either a strong return or an intriguing introduction; it works either way. Moore obviously has a lot of fun in this world, with these characters, and with the situations they find themselves in. Though it's earlier work from Jake Wyatt, it still hums with a fine energy and vibe. It's an all-around cool little comic revving up to take off in a moment.

Not a catastrophe but neither as categorically awesome as it mayhave been.

I honestly had a lot more fun with this book than I ever could have anticipated.

We need more books like "Another Castle", books that push against conventions and try to broaden the comic book medium, both in terms of audience and genre. Books that have a strong message and disregard of the status quo. Unfortunately, we just don't see any of that in "Another Castle" #1.

The upcoming issues promise more of Veronica and it looks like Waid'll be having fun exploiting the teen love triangle plot for a bit. But he's shown that he's more than capable of balancing the funny, sad, and exciting elements of “Archie.” It's too bad Wu does only this issue, because her style settles well for Riverdale.

"8House: Archlight" #1 exists in its own weird world. It's a book that will evolve and unfold rather than explode out with information. Brandon Graham and Marian Churchland only offer us a tiny glimpse of a tiny portion of this enormous world, but it's immersive and intriguing and you can't wait to return to explore even more.

Evocative artwork and clearly defined themes allow this book to stand on its own.

You can feel this team working better together and it helps make this an even stronger title.

This 'Superheavy' arc is going off in all kinds of directions, but the creative team seems determined to follow through with exploring how this resonates and reflects on Gordon. It's big budget, summer tentpole spectacle, but I think what makes this one of the strongest mainstream corporate comics is that desire to try to figure out an answer to their question.

Second maybe only to "Sabrina" as one of the strongest horror comics out right now.

Defeated and cynical, it's like these comics have lost hope for themselves.

Interesting character work and well done action help to develop the "Battling Boy" world, and make us even more excited for "Battling Boy" Part 2.

The style is classic and the feel is jazzy. "Betty Boop" #1 is very effective and another nice addition to the Dynamite licensed library. (Another final note: it's rated T+ for some reason? I didn't see anything that would warrant that rating in this. Give it to a kid, they might enjoy it much more.)

Boom! Box has grown as a publisher over this past year, enough that you know to expect a passionate, fun, and emotionally-driven story every time you see their masthead. The 2015 "Boom! Box Mix Tape" is a nice retrospective of many of their titles this past year, and, as a collection, is a huge improvement over last year's mix. Shannon Watters and the rest of her crew did well in putting this anthology together.

While Robinsons cartooning is adept, the new color palette doesnt yet add much to the material.

"Brutal Nature" #1 features some interesting moments, but it's handled carelessly and structured poorly. There's plenty of strong visuals and the premise is intriguing, but the character work falls flat and the language is rough. I appreciate what they wanted to do with this book, but it's not handled with any sort of deftness.

Cute and charming, it's like a first season episode except with better confidence in the material.

Many well done character moments help give this book a unique voice in the genre.

Buscema and Powell's exuberance with the material is infectious.

A well-curated collection of stories; come for the Gillen, hang around for some other interesting sights, wish for a broader talent pool.

Leth and Doyle do well at building this creepy and romantic Paris.

Overall, "Cognetic" #1 is a nice start to a new apocalyptic thriller. James Tynion IV and Eryk Donovan's collaborative relationship continues to grow stronger and what they're able to accomplish together becomes more and more interesting. There's a good done, some creepy atmosphere, and some taut tension going on here.

It might not be any new information for the most intense aficionados but it offers a charming and accessible story for those interested in anything comic-related.

Introspective and gradual, "Constantine the Hellblazer" #2 offers some nice character work for John

Some excellent cartooning and a less mainstream style I wish Image was constantly more willing to court.

Still, the book is really early in its run and it's difficult for it to have built up much in terms of tension or stakes. The episodic nature of combining three separate digital comics doesn't really lend itself well to telling a full story, so the book only feels like a montage of unrelated events. We're only really getting to know these characters right now, and that's okay if not totally fulfilling. Bennett and Sauvage, though, are obviously having a blast with this thing, and I think that tongue-in-cheek attitude with a real desire to tell a good story help make this book not feel like some marketing ploy spinoff.

“Dept. H” #1 is a strong introduction to Matt Kindt's latest series. With an expert eye and sense of delivery, Kindt has begun an intense and unnerving story that takes the best elements of recent series like “The Wake” and “Southern Cross.”With Kindt's perspective and point-of-view, “Dept. H” is already shaping up to be something beyond the pale. I think this is a series that will be an absolute blast to read on a month to month basis, but when it's collected together and complete, it'll be another strong addition to a great cartoonist's bibliography.

"Diesel" might be the first book on this scale that Tyson Hesse has produced. Yes, he's been working for ages " there's his "Boxer Hockey," along with plenty of licensed work on "Sonic" and Gumball" " but this book, in print, from a rapidly growing publisher, feels like a big deal. Hesse juggles the excitement and experimental flair of someone fresh into comics with the experience and assurance of someone who's had experience figuring out what works and what doesn't, and who's confident in the material. Under the guidance of the increasingly more expert and sharp Shannon Watters, he's creating something that reads far more assuredly and effectively and feels like it could be huge.

There's a Carl Barks story, so it's worth it just for that. But most of the other stories are well done, too.

Over-the-top, with some ill-considered panelling moments, but on the whole, charming enough.

The book can take its time setting up its pieces, but Nick Dragotta and Jonathan Hickman are skilled enough and confident enough in the material that even these quieter issues are filled with intrigue and tension.

Two great creators operating at the top of their game.

Intriguing and captivating, I'm definitely interested to see how this story will play out, especially once Corona fully kicks it into gear.

All the plot points come together and resolve in a satisfying capper to a wonderful series.

A Silver Age energy makes the experience fun and engaging, even if you'll remember nothing about it 10 minutes later.

With stunning artwork and strong control over the delivery of the story, Alexis Deacon has turned in a spectacular opening chapter. It's sharp and assured and engrossing, and you'll go crazy waiting for the next installment.

There's a lot to identify with in "Ghosts": a sick loved one, a new home, a family tradition. By giving her characters such specific interactions and situations, Raina Telgemeier has opened her book up for a more universal experience. She takes on a dark and grim subject matter and is not only frank about the realities of it but also makes it far more comprehensible and comforting. Her characters are relatable and empathetic, her cartooning's assured and more confident. It's easy to get wrapped up and invested in these worlds she's creating.

"Godzilla in Hell" #1 kicks off IDW's latest kaiju series and each issue will supposedly feature a different creative team handling Gojira's journey into the underworld. It's bombastic and entertaining, exploding with memorable imagery and clever staging. Stokoe has set the bar high for the rest of this series.

Lots crammed in even if it feels like little progress has been made in the narrative, but nevertheless loaded with plenty of humor and charm to go around.

"Grayson" #9 continues the entertaining, exciting, and engaging spy adventures of Dick Grayson. King, Seeley, and Janin want you to have a great time reading this book, and what more could you ask of an over-the-top espionage adventure?

As a series, "Grayson" has the capacity to be exciting, sexy, fun, and intriguing, and it's often one of the more interesting titles DC's releasing. Yet, with none of those elements coming together for the "Grayson" Annual #2, this book never exactly does anything. It's not terrible, it's just boring.

Great storytelling and style, hampered somewhat by a feeling of not being completed.

Funny and chipper and animated, "Help Us! Great Warrior" has some wonderfully delivered action sequences, great gags, and a satisfyingly melodramatic twist. A small gem of a book.

A good, if fast conclusion to a good, if fast, series.

Piskor's using a huge tapestry to create a fascinating portrait not just of a genre, but of a world.

Im not sure if How to Survive in the North is a book Im going to frequently reread, but I do think its one Ill flip through and admire again and again.

Despite these dangers, I do think it's a solid book. Skottie Young's cartooning is always great to look and his excitement about the locations and actions is contagious. "I Hate Fairyland" is big and funny and broad, surprising because who knows what bananas thing Young's going to throw at us next, occasionally filled with some genuinely clever moments, and packed with great sight-gags. Honestly, the background details are often more entertaining and hysterical than the main plot. Again, watch the moon throughout this issue. I think when Young figures out what he wants out of this, the book will work all the much better and become something you look forward to every month rather than something in the middle of your pull stack that you read, say, "Well, that was fun," before moving on to the next thing.

This was a book I wanted to like a lot more than I did. I think “Iscariot” isexceptionally illustrated and, even now, I just keep flipping through the pages, soaking up Vidaurri's images. The story line itself just feels like it came up short. There's so many interesting ideas and ambitions in this story that it's disappointing it came together so awkwardly.

"It Will All Hurt" is its own unique experience of a comic, and it can't really be compared to anything save "The Wrenchies."

Assured and well characterized, though the action scenes don't quite bear the same dynamic as the conversational bits.

A dark, unsettling issue that reminds us that even though it's monster prison, it's still prison.

Funny, saddening, thought-provoking, and uniquely illustrated, "Kaijumax Season Two" #1 is a welcome return to an unusual and remarkable series.

A fun, beautifully illustrated, romp.

I think its time for Brubaker and Phillips to branch out a bit.

A delayed liveliness gives this book an odd, quiet tone that doesn't really fit with what the book wants to be.

“Klaus” #1 features two creators very much in control of the tone of the narrative, and they build up and come down from their set pieces with aplomb. This is only the beginning of a six-issue miniseries, although Morrison feels he could take this out for as long as possible, so there's no telling how it'll develop. If Morrison and Mora maintain the spirit and the wildness of this first issue, “Klaus” might become another story you pull out every holiday season.

Committed, brutal, angry, but still fun, and immensely ambitious, “The Last Gang in Town” #1 kicks off a bizarre and thrilling crime story. This first issue does well to set up the world and to introduce us to some of the characters. Let's just see where it's taking us next. It's ambition might be off-putting to some impatient readers and it's too early to tell if it'll pay off, but it's clear Simon Oliver and Rufus Dayglo are striving toward something.

Parent structures this more as a new adult story: Kevin's drive isn't out to get all the boys, but rather to find his place in the world, doing something he's interested in. It's told animatedly and delightfully, with a frantic pace and a blue tone that allows J. Bone's ink-lines to breathe and bring to life Parent's expressions and compositions. And, you know, maybe too much happens in this first issue, and sometimes some of the situations feel too easily resolved, but the humor and dynamism more than compensate for it.

A fine continuation of the "Love & Rockets" legacy.

Nothing in the plot feels new, but Holly Black and Lee Garbett's voice and direction help make it an interesting and fun read.

By staying true to itself, honest with its emotions, and constantly embracing its own weirdness, “Lumberjanes” #12 proves again that this is one of the most charming, fun, important, and engaging comics Boom!Box is putting out right now. I'm always disappointed when one issue ends and can't wait for the next one to begin.

Joyful and exciting and full of life, "Lumberjanes" continues to impress month after month.

This book is like watching a deleted scene on a DVD. Although it has some moments that help contribute to the larger understanding of the story, it's ultimately unnecessary and awkward.

Throughout the comic, Christensen and Blas hit home that the fight against bigotry is all our fight and yes, it's empowering. "Mama Tits Saves the World" tells us that it gets better, that it's getting better, but it also reminds us not to neglect our history. When people get complacent, overly comfortable with the strides they made, when their eyes glaze over at the mention of the AIDs epidemic or Stonewall or something, this leaves an opportunity for wicked and evil people to make themselves known. It's a loud proclamation, though not much of a strong narration.

Cute, competent, and pretty much does what it wants to accomplish.

A clever take on an old legend.

A solid translation and one of the better Disney Cinestories.

Lewis Trondheim and Keramidas turn out a fantastic little comic that will let your imagination explode.

An tense issue that does well to establish the themes I think will be present throughout Orlando's (and mostly Aco's?) run on the series.

A fantastic unique world boosted by some strong character dynamics and assured storytelling

Bechko and Lau offer a lot for "Miss Fury" #1. The atmosphere is great. They have a strong understanding of the characters and the people all feel different. But the book bites off a lot more than it needs to, and what should have been an exciting and thrilling pulp adventure quickly flickers along. Maybe with the main mystery being established by the end of this issue, they'll take more time to develop the story, but for now we're just given a hurried, if nevertheless enticing, introduction..

Appropriate aesthetic, though the breakneck pace doesn't feel as grounded.

Captivating and cryptic.

Cute artwork and charming situations; kids will probably love this.

Some solid, entertaining superhero comicking.

Fun art and high energy are undercut by a lack of trust in its storytelling, its own creators, its readers, and itself.

"Motro" #1 is fun and, to an extent, even distinct, despite all its numerous influences. I'm on-board to see how the story unfolds and whether or not the book ultimately comes into its own.

Some good jokes and charming cartooning work, but it feels like "Mr. Crypt" #1 is in the wrong format or missing its approach.

There's a lot of potential for the series though, and those brief flashbacks are definitely some of the shining moments in the story and one of the elements most expressive of Tobin and Alburquerque. There are a couple character moments that do feel real and honest, like when Trine's telling her sort-of-but-not-really boyfriend what she's planning to do. Even though the book was a lot of setup and introductions, and repeatsa lot of information, it never comesoff as boring. Once Paul Tobin and Alberto Alburquerque settle into their groove, “Mystery Girl” could, at the very least, be a lot of fun

Neil Gaiman and Colleen Doran explore ideas of coming to terms with yourself in a morose story thats exuberantly illustrated. The two elements dont just balance each other out, they are also complimentary.

Though they don't do much more than set the scene, Alex De Campi and Carla Speed McNeil deliver a fairly intense and chilling first issue.

All in all, “Nowhere Men” #7 is a fine return. It mostly deals with catching us up on what happened in the first arc, but Stephenson does well in grounding the characters and posing more questions. Dave Taylor's artwork serves it's purpose, but it's not until near the end where he starts to make it his own. It remains to be seen if Emi Lenox's prologue is probably the most effective piece, and if the world continues to expand, a wide plethora of styles could help.

In the end, "NVRLND" #1 is a bit of a mess. Although the story doesn't do anything interesting with the Peter Pan characters except transport them to modern day Hollywood, it's fun seeing how Salyers, Molick, and Leiz incorporate them into this world. However, it's never as exciting as it should or as interesting as it could be, at least for this introduction.

Short and messy, “Onyx” promises a lot of things, but never delivers any of it. The script is rough, the art never quite lands (though Rodriguez does provide a few well delivered spreads from time to time), but, worst of all, with overly broad stakes and basic bland characters, the book is boring and forgettable.

The comic doesn't feel like a deleted scene, but as another story that time constraints wouldn't allow to be told. McHale and Campbell approach the book with the same mood they had with the original, and that lends to its authenticity and genuineness. The stakes aren't quite as high yet in the narrative, but the atmosphere and the interesting world that's both cozy and horrifying are both present. In any way, The Unknown is not a place you should miss.

One of the weaker licensed comics efforts.

Like with a lot of his work, Lemire offers an assured, if not entirely unique, spin on these concepts. But he's walking proof that a strong storyteller can pretty much do anything with any set of conventions and still make them interesting. This time around, the talented Lenox only helps him realize this. Together, the two of them are conjuring something that totally feels like it will be special.

Lemire and Lenox have a strong collaboration; now we just have to wait to see if they land the ending.

Matt Kindt and Brian Hurtt are such skilled storytellers they're able to take all these familiar elements and remix them to feel mostly fresh and enthralling. The energy in "Poppy! and the Lost Lagoon" is high and it's a fun read from beginning to end. It's a nice testament to the serials that came before " from Indiana Jones to Tintin to Corto Maltese to Nathan Drake " while still able to stand on its own legs. As the series goes forward, I hope Kindt and Hurtt explore Poppy and Colt a little more, but as it stands, this is a very enjoyable and lively book.

"Power Up," though, is still a fun and enjoyable book, and Kate Leth and Matt Cummings are having a ball creating this world and the characters. This comicis welcoming and embracing, if a little more narratively loose than it ought to be, and even if everything seems familiar, it bears enough of its own personality to make you want to see how it plays out.

There's not a lot we know at the end of this chapter, but we definitely have hints about what this next story arc is going to do. The story is probably not something that will unveil itself for months to come, but the tone and beat of the book remain exciting and endearing. Kelly Sue DeConnick and Emma Ros want to deliver an engrossing read, and they've set up this world and its atmosphere so well that even a transitory issue succeeds.

Regardless, “Princess Ugg” remains a charming, consistent, humourus, and fun series. Naifeh's art helps immerse you into this world and Wucinich gives it that final sell. It's a perfect example of how even a story that doesn't have the most original approach can still be rewarding and wonderful when delivered by someone who knows what their doing. Ted Naifeh knows what he's doing.

Fantastic visuals boost an intriguing prologue

Simone and Geovani are perfectly aware of the voice of the book, and their collaboration " never too serious, never too silly, but tongue still lodged firmly in its cheek " has made not only this issue, but this series really enjoyable. There's a playfulness to it, but there's a willingness to explore and expand. They allow Sonja to grow, to learn, and want to seek out new experiences, and I think it makes this that much more interesting.

"Rocket Girl" continues to be bright and full of color and life. And I think that's the most lingering element of the book. For all the mysteries and conspiracies and characters bickering with each other, I think what I take away most issue after issue is the aesthetic of it, its lively vibe. Honestly, I would be hard pressed to immediately tell you anything about the plot or motivations or time-traveling what-have-yous, but Reeder's exuberant images and style constantly lingers on after the issue is over. This might be a book that takes forever to come out, but Reeder's artwork makes it almost worth it each time.

An odd, tone-deaf, and outdated post-apocalyptic adventure.

Undoubtedly, the mystery and monster hunting play better when put together whole, but the book doesn't entirely smoothly translate to a collection.

While it may not be work I'm generally drawn toward, it's damn hard to deny Corben's craft and skill.

But, as it says in one of the last double-page spreads, we've reached an end of an act. So how does this serve as an ending? There remain a metric ton of mysteries that still need to be dealt with, including some late revelations in this issue, so there's slight feeling that this book has finally started running, but as long as del Duca and Keatinge maintain their passion and enthusiasm and devotion to their characters, this series can't help but be fantastic.

No doubt "Shutter" reads better with a stack of issues or as a trade than on its own, but goddamn is each installment a monthly treat.

Together, Keatinge and del Duca have made "Shutter" something that plays out satisfying as a single issue serialization and exciting as a collected whole. They've juggled their numerous plots with aplomb, delivered twists that elicit genuine gasps, and made this batch of characters whose motivations and values are deeply understandable and worth investing in, including a psychotic robot alarm clock cat. Even if small steps are being made in the story right now, "Shutter" remains an engaging and exciting read.

Lots going on, and some of the lingering questions can be frustrating, but this series is always a feat of strong storytelling.

Some great storytelling and an interesting bunch of characters. It's like "The Neon Demon" meets "Harriet the Spy" narrated by a modern day Fanny Hill.

The questions are gripping, we can understand Teddy, and the danger to this family feels very real, so the stakes come off authentically. Tyler Jenkins's cold artwork gives the book another chill while Ollie Masters continually pulls great tension out of the plot. Reading this when it's done might provide for a terse hour or so, but as it's serialized, it has the capacity to become completely engrossing and gripping as everything comes barreling into these secluded characters.

“Snowfall” #1 is a satisfying opening chapter, with plenty of questions raised to help take us through the story, but also with enough of a taste of the storytelling that we can guess what we're in for. Harris jumps between characters and situations while Morazzo keeps Harris and the reader grounded through clear images and some top-notch pacing. Okay, sometimes the dialogue is hokey and not everything comes together, but you can feel like the story is growing and has grand plans for where it wants to end up.

This world continues building and layering; the perspective shift is nicely done by Cloonan and Belanger.

A cyberpunk remix with great designs that unfortunately cannot nail its landing.

It is an entertaining book and will probably work better when it's all said and done, and it's certainly nice to look at, but for now, it doesn't come off as more than a throwaway little lark.

Although not much plot happens in "Spider-Woman" #5, there's a great deal of character work going on. Taking the time off to let us see Jessica Drew deal with being a mother helps make her a stronger, more relatable character. No doubt, Hopeless, Rodriguez, and company are gearing up for something that will put the baby in danger (though wouldn't it be great if they didn't?), but for now, this simple story of a new mom juggling her work and home life, is engrossing.

You could get lost in the wonderful images Gifford delivers; but you could also get lost trying to figure out what's going on.

In all though, Aaron and Cassaday have turned in a strong start to the Marvel "Star Wars" series. They've dropped some exciting hints at the mood and essenceof their story, of its energy and spectacle. They've also shown that they are capable of concluding one of these stories in a satisfying manner, which is something"Star Wars" material hasn't always been able to accomplish. I'm excited to see where they're going to take this thing and what far reaches of the galaxy they still plan to explore.

A goofy, farcical, but nevertheless farcical action scene.

"Star Wars" should be better than this.

Bright and delightful, "Star Wars Adventures" #1 most emulates the spirit and tone and wonder of the original film.

Instead of a moody story, Gillen and Larroca have infused their book with this reckless spirit that only comes from taunting death.

Gillen and Larroca understand that Star Wars is supposed to be fun and they're obviously having a blast making this.

It's like "Speed Racer" narrated by Rick Deckard and starring Han Solo.

“Steven Universe and the Crystal Gems” #1 captures the spirit of the show while still finding enough humor and excitement to be its own thing. Make no mistake, you need to have watched at least the first season of Steven Universe before you try this out: Fenton and Garland rely on your knowledge of the material to make a lot of their scenes work, but why would you even be picking up a licensed comic of something you've never even seen before? I mean more that “Steven Universe and the Crystal Gems” #1 is able to stand on its own as a Steven Universe adventure rather than feel like some meaningless extension of some random episode. The series is fun and charming as it mostly sets the stage for a bigger problem.

Greg is the fantasy character who we ultimately see all the other characters through: he's so much like us, and his ambitions are so much more akin to ours, that his reactions and actions in these bananas situations help give give a feeling of the tension and turmoil. He's also the part that helps us come down and reminds us that there are people out there to care. He's the backbone, the constant support, the non-understanding and lovable figure who tries to do what's best, and this collection does a nice job at exploring that.

"Sun Baker" just can't sit still, and it's all the better for it.

"Terrible Lizard" isn't offering much of anything new or original on the kid-and-their-pet story, and that's okay. I think Cullen Bunn and Drew Moss are far more interested in brewing up an epic smackdown, and the key to this series's success lies in how strong they can establish the bond between Jessica and the T-Rex. Judging from what they've managed to pull together in a few pages, I don't think that element will be a problem. This book seems to want to go for the spectacle of having a pet. And i know, in my post-Jurassic Park,dino-wishing haze, this is exactly what I would have wanted out of life.

A solid all ages science fantasy debut.

It's clear Aguirre-Sacasa and Hack have a longer, more sustained narrative in play for Sabrina, and their work so far on it has been beyond exceptional. I feel this is easily one of the best horror comics, and definitely one of the coolest all-around comics, you'll find. Turn yourself over to this world.

An engaging adventure led by fun personalities, if not yet fully developed characters.

By the nature of the miniseries format, there's a compressed pacing to the story, but Pires and Rubn juggle all these elements without making one part feel overwhelming. A couple of the characters seem to be swept aside in favor of others, existing to fill out the frame, but that doesn't take away too badly from the rest of the narrative. Pires leaves us with a lot of questions still at the end of the issue, and I doubt the final part will bother to answer them all, which I think is cool. If anything else, "The Fiction" #3 proves you can have a conventional story that lands well when the storytellers themselves are so on point about it.

For “The Goddamned” #1, Jason Aaron and R. M. Gura double down on the aesthetic and tone of the book, although at the expense of the story. There's plenty about how this book will feel, yet not much about what it will be. However, their trust in each other is more than enough to make the book intriguing. “The Goddamned” can easily spin off into four dozen different directions, but with the control these two are showing, it'll probably be worth it to pay attention.

As it stands, De Liz has accomplished something with this series. It's clear she has a deep investment in this story. With graceful and exciting artwork, she's taken elements of fairy tales, mythology, and superhero comics and mixed them all together to create something that feels exciting and engrossing.

I'd actually rate this higher, but the high price tag and the poor quality of material Marvel insists on using is distracting and detrimental to the story itself.

As a whole, "Sandman Overture" probably stands out as the most stunning "Sandman" story. The original series is filled with plenty of gorgeous visuals and clever distortions of objects for The Dreaming, but Williams & company turned in some truly memorable images. Some of the story choices in “Sandman Overture” #6 aren't as effective or resonate as emotionally(especially if you compare it to, like, 'Brief Lives'), but overall, it's a nice addition to the Sandman universe.

Leila del Duca and Kieron Gillen get some true emotion out of this melancholy episode.

Interesting concept but with a generic and bland execution.

Not much in this book comes together. It's not exciting. It's not interesting. It's sort of insulting. (I didn't even get into Debbie's costume or how Murphy and Remender seem to think that having a man walking around naked is compensation for her objectification.) Murphy is capable of so much better ("The Wake," "Punk Rock Jesus." that "American Vampire" story he did): even his phoning-it in-art ("Chrononauts") reads so much better than anything he's turned in here. "Tokyo Ghost" #2 just doesn't do anything.

Intriguing, exciting, and endlessly entertaining, "Tuki" #2 showcases a pro just doing what he does best. The art is fantastic, the story interesting, and the characters empathetic. It's a strong demonstration of the capabilities of the comics medium " from the mechanics to the narrative to the look of it, and it's starting to show signs at being another great book from Jeff Smith

Always great to see the work of a high talent.

Charming and fun and nice to see back in print, "Uncle Scrooge" #1 keeps up the classic Disney gags and jokes, though it feels like it's still in the shadow of a bigger legacy.

While it never reaches the heights of recent Wonder Woman origin stories like The Legend of Wonder Woman, Wonder Woman #2, Wonder Woman: Year One delivers an engaging narrative respectful of the source material.

A lot more fun than I was expecting.

Funny, smashing, expansive, and wild.