Michelle White Comic Reviews

All told, this is a fascinating retelling of a legend which has become an important reference point in Japanese culture. And in its vitality, its subtlety, and its sense of integrity, "47 Ronin" is a fitting tribute to a group of warriors who were never ronin.

All told, this is an involving issue and an effective second chapter that draws us deeper into Zoey's world while maintaining an aura of tension and mystery. Moving forward, there's no telling where this series is going; but knowing Zoey, it's going to be worth your while to tune in.

Even though this run isn't quite finished, I'm prepared to profess my love for "Age of Reptiles" generally. It's unusual and beautiful to look at, and it plays with your emotions the way a velociraptor might toy with a baby sauropod. You've been warned.

By the end of the issue, we've got new possibilities opened up and every reason to be invested in not only Alex, but Ada's dilemma. It's a neat turn, and particularly impressive given that we've only been hanging out with Ada for one issue. Moving at a moderate pace while carefully fleshing out this near-future world, there's an appreciable sense of menace and possibility building up; and if these first three chapters are any indication, there's going to be a hell of a payoff.

There's so much to love about this series so far, from its effortless world-building to its concise storytelling and confident art. And if the last page of this issue was any indication, there's a good deal of surprises to look forward to as this series moves swiftly to its end. "Amala's Blade" is one gorgeous and entertaining series, and fast looking to be the best high fantasy on the shelves this year.

This series has been a wonderful ride, and viewed as a capped-off, no-more-to-see-here-ma'am sort of enterprise, it's still fabulous. There's scale, there's imagination, there's humour, there's humanity. Horton and Dialynas have built a beautiful world up, then challenged it, populating it with flinty characters and all kind of moral ambiguities. But the more you look at it, the more potent and full of unrealized potential is all looks. There are so many great stories left to tell here.

Hard to sink your teeth into, but lovely to look at.

My impression of this series is that the art is generally better than the writing, and that holds true with this issue. Still, as a stopgap read between your long-haul comics, "Amazing Forest" isn't half bad, and will keep your eyeballs amused.

Overall, this issue is a bit of a mixed bag " but it improves as it goes on, and may settle into a groove by the time the second issue rolls around. For the time being, "Apocalypse Al" is worth a look for the mash-up of genres and for the strong, detailed artwork. If neither of those things is your cup of tea, well " $2.99 isn't the end of the world.

Between the surreal narrative and the Lite-Brite art, this issue is definitely an experience; and while it's not the deepest of dream-centred tales, "Bad Dreams" is an enjoyable jaunt into fun and immersive world, and should find admirers among the young and not-so-young.

Overall, "Ballistic" is a refreshing trip to an altogether unusual world, and if the second issue manages to take the plot somewhere even more interesting, we may have a winner on our hands. For the moment, though, there's plenty of madness and great art to enjoy. Plus that talking gun is looking to be one of this years' most interesting sidekicks.

Essentially, if the first issue of "Ballistic" had you intrigued, this one definitely will not put you off. It's still overwhelmingly inventive, bursting with ideas and colour and detail, and it's still a bit hard to follow. But then, this may be one of those cases where the overall gestalt of a comic is so gobsmacking that it's easy to overlook the flaws. If you know what you're signing on for, and are willing to invest that extra bit of effort and really get immersed in the world that Mortimer and Robertson have created, "Ballistic" really does reward.

Overall this is a strong issue if but a complex and slightly confusing one, with the smaller incidents requiring a moment of readerly reflection in order to recall their context and pertinence to the matters at hand. All things considered it will probably all read a lot more smoothly in trade, but this issue ends on a cliffhanger with the next issue being a #0 and an origin story, so it'll be a bit of a wait before we find out what's in store for Gotham's more sprightly " and for the moment, slightly screwed " masked superheroine.

At the end of this issue we're no closer to getting the kidnapped kids back, and this might be frustrating for readers who were expecting more closure " particularly since these kids have been missing since issue one. But we've been getting a pretty nice look at the supernatural side of Gotham, in a series that uses a slightly slower pace to sell the underlying motivations of its characters, and the balance achieved between the campier antics and the emotional dramas is solid. "Batwoman" is still going strong, and with the added punch of J.H. Williams's art future issues should be worth a look.

And despite the crossover content, this is an excellent jumping-on point for those of you who haven't been following "Batwoman" this far. J.H. Williams' art is the heart and soul of this title, and it couldn't more beautifully exhibited here. Meanwhile, a new storyline is kicking up, and it's looking to be a pretty wild one at that. "Batwoman" hasn't had a perfect run so far, but this encounter with Wonder Woman, while slightly arbitrary, is being handled with flair. This will be an arc worth following.

Overall there's really nothing to complain about in this issue except the bare bones of the thing: did this crossover really have to happen? It was made more than clear in the #0 issue that Kate is a rich character indeed, and surely there's plenty of interesting stories for her to live out sans help from a certain lasso-wielding superheroine. Still, it's exciting to watch Blackman and Williams tackle the challenge, and even as they stay true to the essential personalities of these characters, and cogently portray the different worlds they inhabit, it still feels like they're coming up with something entirely new.

Overall " between the consistently wonderful art and the careful, nuanced writing " this is a satisfying if somewhat cramped finish to a thoroughly surprising arc. And while it's a shame that J.H. Williams won't be doing the art for the next little while, Trevor McCarthy's work has risen to the challenge before, and should make for some fun reading in future.

This story is fast becoming something that sticks to your brainpan and builds itself a nice little home there, which is to say it is completely disturbing and messed up, but it's got appeal beyond the shock factor. There's something else going on here, something compelling and introspective that, more than any other single element in the book, signals that this is a story with momentum and staying power. Slow paced as it is, there's every indication here that this series is going to be one heck of a ride.

This book is settling down into an improbable and slightly silly kind of Odd Couple groove, and while it's as upsetting and disturbing as always, it's become the kind of book where you have an idea what to expect with each issue. It's a little sad that Rossmo is leaving now, just as the series finds a kind of pace ("a great weeping" indeed), but if Frazer Irving's covers are any indication, we're going to be okay. Just as Spencer has established a certain rhythm with the scripts, Rossmo has fleshed out this universe with some truly iconic images " a great foundation for any artist who takes up the series to build on, whether it's Irving with the covers or newcomer Ryan Browne with the interiors. It's likely that "Bedlam" is just going to keep being "Bedlam" " for better or for worse.

This isn't exactly a spotlight issue; multiple threads are being developed, and the backstory is gradually taking shape. There's still a lot of potential to be paid off, and for the moment, the impact and scope of Scalara and White's work is keeping things engaging. Time will tell how enlightening "Black Science" really is.

Overall, this first issue of "Blackout" feels a little light, but that's likely a side effect of Barbiere and Lorimer having to re-set the scene and spend some time on the exposition. Otherwise, this is a well-paced and confidently-drawn issue; and while the story at its core isn't anything special, the smooth execution makes it worth a read.

Pretty much exactly what you would expect, but pleasantly so.

We end the issue on a fantastic sight, the mechanical details of which hint at greater revelations to come. But then, with its terrifying vistas and mind-bending concept, this issue is a minor revelation unto itself. It's always a delight to see a unique idea executed with flair, and now that it's accessible on this side of the pond, "Brass Sun" should earn its fair share of worshippers.

So far as action-light, introductory issues go, this first chapter of "Breath of Bones" is pretty solid, working in a real sense of pathos despite a lack of focalizing details. Between the strong writing and understated but powerful art, this story has a solid foundation to build on; and while it is moving slowly, we're talking masses of sentient clay, here, and that kind of magic takes time. My guess it'll be worth sticking around to see what coalesces.

All told, if you liked the first issue, you'll find even more to love in this second one: it moves quickly, it hits the nostalgia factor hard, and it's got a great sense of fun. If any of these factors sounds like a good time to you, chances are you'll feel compelled to play "Burn the Orphanage" right to the end.

It's not quite as charismatic as "Velvet", but "Butterfly" is plenty stylish, capitalizing on the symmetry of Butterfly's story and her father's and getting a lot of suspense and intrigue out of their surprise encounter. This dynamic makes "Butterfly" fun to read and reread " not a common quality " and suggests a strong foundation underlying the whole. This spy thriller is looking like pull list material.

This is a concept that could easily have gone awry, but what Cates, Reznicek and Shaw put forth here is polished and confident, balancing dark themes with a well-developed sense of fun. Putting an innovative twist on the burnt-out superhero trope, and laying it all out with energetic art and deft writing, this is an accomplished introduction to a high-concept series. So far as habits go, "Buzzkill" should be well worth picking up.

Ennis and Percio are doing something chilling here, running with the idea that space wasn't made for us " that it can and will drive us insane. Thoughtful, unsettling, even alienating, "Caliban" is a comic that leaves you with questions you're afraid to have answered. And if that's not the definition of sci-fi horror, it's damn close.

The first issue had more potential than is being capitalized on here, but "Caliban" is still an entertaining " and very scary " read. It'll likely hold together better when collected, but it's doing an admirable job keeping the tension high from chapter to chapter.

At heart, "Change" is as alienating a story as ever, and that's kind of the point. This is a metaphorical mash that probably won't quite make sense until the climax, when Kot and Jeske nudge all the pieces into place, and part of the suspense is the waiting for that moment. The trick is reconciling yourself to the waiting, and between the engaging writing and the off-kilter art, there's plenty to enjoy when you do so.

Keep an eye out for "Haunted" come April 30th.

All told, "Cloaks" is an enjoyable if somewhat saccharine read " fun if you don't feel like thinking too much. If anything, the final page signals a more ethically ambiguous line of work for Adam, and if we get to see his character dirtied up a little, it can only be to this series' benefit. As things stand, though, this issue is a little too predictable to make an impression.

It's an unusual read but a memorable one, and with its elliptical nature and use of aliens as a metaphor for the unknown, "Cloud Hotel" even makes a nice companion piece to "The Interview". If you get ahold of both of them, you're guaranteed a weird weekend " a close encounter of the introspective kind.

Overall " and unhappily, given the promise of its central concept " this comic is looking a little bland. High-concept sci-fi stories that fumble the execution are not exactly the endangered white tigers of the comic world, and this issue feels like it's suffering from a lot of the usual problems, at least in terms of writing. We're missing the concise exposition and revealing character details which make a speculative story really compelling, and in short, things need to be stepped up a little for "Collider" to make an impact.

All told, "Comeback" #1 is an intriguing as well as a visually interesting first issue " and it may be all the more great for not lunging at our throats right off the bat. Of course, if you're looking for a series that does just that, "Comeback" may disappoint you. But there's something to be said for a high-concept thriller that takes its time, gradually drawing you into the story as it establishes the characters and the overall atmosphere. Based on this first issue, it's going to be a lot of fun watching these puzzles pieces come together.

Overall, this is a slow but solid issue that gradually builds on the mysteries presented in the first one, as well as throws in a few more. And so, while this is a very easy shot to take in regards to a miniseries, it seems that "Comeback" will be a much more satisfying read in trade. Still, this is a masterful work in that it is keeping us so much in the dark " having so much occur in each issue, and yet still managing to tell us so little. Compressed and condensed and utterly bewildering, "Comeback" keeps giving us handfuls of puzzle pieces to fiddle with; and try as we may to put them together, there are bound to be some big surprises down the line.

Viewed on a macro scale, this story does have some emotional resonance is the end, but it's definitely not the showstopper it could have been, given the interesting moral undercurrents that have been apparent in the series so far. But this time travel story has been incredibly ambitious, and is worth checking out for the fine details that Brisson has worked into the central concept, and for Walsh's concise visual storytelling. If the chops on show in "Comeback" are any indication, we've got plenty to look forward to from this team.

"Conan/Red Sonja" #1 is a fun issue to read, and the art is gorgeous. And while I wouldn't call it all-ages, it certainly has a broader potential audience than something more hard-hitting would have been able to claim. It's an issue that's going to have its fans. But those who are more interested in the darker sides to these characters should wait for a bloodier take on their shared destiny.

This issue puts forth a lot of intriguing elements in its 30 pages, and it's fun imagining all the different places they could go. But it's the curse of science fiction comics that they don't always capitalize on the promise of their first issues, so I wouldn't call out the variety of elements as a selling point. What you're definitely getting here is some gorgeous art and colouring, and while it's early to make a call on the writing front, there certainly isn't anything here a couple issues of development couldn't fix. It's a matter of waiting and seeing where "Copperhead" slithers next.

Overall, if there's one thing to take away from another excellent issue of "Creepy", it's that short-form comics are thriving, and that a dose of horror is relevant any time of the year. That, and it's probably best to let dead things stay dead " because when they come back, they get bitey, and/or inconvenient in terms of your day-to-day-life.

All told, this issue of "Creepy" delivers its usual cocktails of scares and screams, shivers and chills, and while it's not without its weaker moments, there's more than enough horror going on here to keep you going till the next one. Besides, has anyone ever really regretted an afternoon with Uncle Creepy?

In the end, this is a miniseries peculiarly suited to weekly release; it's the kind of intricate, snowballing story where the feeling of gathering momentum is half the fun. And despite some faults, "Cutter" has good bones; its plot has a worked-out feel, and the art is unfailingly interesting. For those of us who like to turn October into one protracted Hallowe'en, this miniseries is a sensible choice for late-night reading.

Edmonson and Klein have definitely sweated the details on this issue, and the result is very fine concluding chapter to what is looking to be a very rereadable series. Speaking of which, the trade will be coming out next month, so for those of you who missed this one " and who like their action stylish and ever-so-slightly retro " there won't be too long to wait.

It looks like Walker and Jones are continuing to develop this story with subtlety and nuance, taking us on a dense, emotional journey that " let's face it " is more than a little political in its implications. Oddly enough, it's the pessimism standing at the core of this story that makes it so compelling. The determination and the resolve of its characters stand out all the more strongly for flying in the face of all evidence, and the result is one nerve-wracking and emotionally intense issue.

Overall, this issue keeps to a high standard so far as this gut-wrenching series is concerned. By all counts, it seems we can look forward to even more bleakness and desperation in this series " although that hardly seems like the right way to put it, does it?

If you're a fan of fellow Image Comic "Sovereign", it's fairly safe to put your money on this title. While "Dark Engine" is much more nihilistic " not to mention gory " its scale and grandeur and density make it another epic story that challenges and rewards at the same time. It is hard to say, at this early point, whether the story has the meat and tenacity to stay interesting in the long term; it could, after all, go on repeating the same formula that structured the first two issues. But for now, there's no denying the uniqueness of this concept and the flair with which it's being executed. There's nothing like watching a vicious character set history on fire; and even if that's an itch you don't think you have, you'll get it scratched when you read "Dark Engine".

If you liked the first issue, this one will definitely keep your attention: it's got all the action you could ever want, and the bleak setting is still being played to the hilt. I imagine the much-needed context surrounding the bank heist itself is on its way, but in the mean time, Rachel as a character is adding a new dimension to Gage's journey. I don't think any of us expected this quest for vengeance to run smoothly, but if this issue is any indication, it's going to take some rough byways indeed.

Overall "Deadhorse" shows signs of being one of those hidden gems that only gains in popularity as more and more readers talk about it, with this slightly more complex and emotional issue demonstrating that it's got depth as well as surface-level likeability. Be sure to grab a copy if you're at NYCC, or download one through 215 Ink (the first issue is free), and keep a weather eye for the last issue in this arc, due this Hallowe'en.

This is a damn-near-perfect re-introduction to the world of "Deadhorse". The mix of elements feels fresh and confident, and there's a clear sense of direction as the plot moves forward and the mystery deepens. It's a deadly combination: this book is easy to love, easy to acquire (you can get it straight from the source), and awfully hard to put down.

This is an intricate, dynamic first issue, never quite following the expected trajectory but getting us home in the end. The premise isn't quite cooked yet, but the mood is definitely established, and we've got every reason to want to know what happens to Marcus next. Between the surprising story and the lively art, this is one class you won't want to skip.

This is a well-executed if not terribly original first chapter that sets up all the necessary elements and clears the way for an inciting event. I am reminded, though, that I said the same thing about the first issue of "Storm Dogs", only to be blown away by the originality of the second, and that's a comic that blossomed into something interesting indeed. First issues are tricky beasts, particularly so with science fiction. But from where I'm standing, "Deep Gravity" isn't as deep as all that.

All told, this is a remarkably cohesive issue that still manages to encompass a lot of variety. Rossmo's art is at its kinetic and exuberant best, with Csuka's pages providing a lot of energy and interest in their own right, and all three writers bring something unique to the table. And happily, there are two more issues left in this anthology series " with stories from such Multiversity favorites as Kurtis Wiebe and Ed Brisson, no less " so those of us in the land of the living have plenty to look forward to in "Dia De Los Muertos".

While it is on the shallow side, "Doc Unknown" is a fun little read, and Cody's smooth art in combination with the Rangel's inventive writing makes it worth a look-see. And there are lots of ways to get your look-see on: if you're at ECCC this week, Ryan Cody will be there selling print copies at table 0-17, and if you're closer to Austin, Fabian Rangel Jr. will be at Staple! Media Expo at table 41. And you can always snag yourself a couple copies over at Rangel's webstore.

Every time Straczynski mashes fantasy and noir together he comes up with something different, and this iteration of the pattern is particularly strong. It doesn't do anything edgy or outstanding, but together with Kotian's moody, versatile art, this is a light and enjoyable read that does what it sets out to do.

Given how dark Link and Rossmo's miniseries "Rebel Blood" was (and how sinister most of Rossmo's work tends to be), it's refreshing to see that this substantially wackier tale is moving along in high spirits and high style. It's not quite cooked yet, but half the fun is trying to figure out where this odd story is going to go. For the moment it's a bit like "Proof" on peyote, and that should be enough for anyone.

All told, this is an absorbing and inventive issue, and about as fresh a take on (the first half of) a Poe story as you could possibly ask for. And while I think we all know where this tale is going, the second issue is bound to add even more surprising nuances to this horror classic.

Overall, this is another dependably chilling Richard Corben adaptation to round out your Hallowe'en, with the accomplished "Masque of the Red Death" among Corben's most effective adaptations to date. If, by some chance, you haven't checked out the back catalog of these yet, "Red Death" makes a great starting point for the uninitiated. And if, by some chance, you didn't get enough Gothic atmosphere this past week, you'll find enough in this comic to tide you over till next year.

With its dense plotting, visual exuberance, and emotional weight, this issue offers a nice encapsulation of what "EGOs" has been so far. There's no telling how much more of this series we'll be getting, but if the meatiness of this issue is any indication, "EGOs" should be worth keeping an eye on.

It's hard to make a sweeping judgement about "Ei8ht", based on this issue; we're getting a glimpse of just a sliver of the overall story. That said, this deliberate pacing may also be the series' greatest strength, giving us time to absorb the strangeness of Joshua's situation. In the mean time, the appeal of the art is strong, and the colour-coding aspect shows a lot of promise. So far as miniseries go, "Ei8ht" might be a tiny dinosaur worth following.

All told - and whether you've read the one-shot or not - this first issue is a solid re-introduction to the "Enormous" universe. The renewed focus on our protagonist gives it a solid direction, and the sheer scope and scale of the art makes for a memorable read. It all adds up to an overwhelming experience that's sure to gain the title some new fans.

While it's definitely possible to look ahead in this series and guess as to what is going to come of the interaction between Saul and the murderer, the big twist in this issue demonstrates that Seeley and Emmons have some serious tricks up their sleeves. And so, while it may feel a little conventional at times, there may yet be an unusual horror story awaiting us all within the pages of "Ex Sanguine". In the mean time, this issue is good (if occasionally simplistic) fun, and should appeal to the horror aficionados among us.

This is shaping up to be a remarkable romp, thoughtful without being preachy, fun without being overly light-hearted. That's a balance rarely struck in high-concept science fiction, and this sense of equilibrium makes "Exit Generation" well worth a look.

There's nothing seriously wrong with "Feathers"; it's a cute story with an appeal of its own. But the hiccups " the trouble with pacing, the lack of development in the characters " make it difficult to single out in a market full of wonderful fantasy titles.

I don't think I can recommend this issue enough. So far as highly stylized comics go, this one's confident and fresh, pairing up its strong aesthetic with a unique concept and a fun and fast paced storyline. And all the while, you can feel good about supporting an independently produced comic. Everybody wins!

I think I've made it pretty clear: "Five Ghosts" #6 is some good comics, laying out a beautifully blocked story with gobsmacking art. It's also pretty heartening to see a great miniseries continuing on in high style, but even if you didn't check out the miniseries, this is a great moment to hop on. Like the central encounter of this issue, you'll find the experience a revelatory one.

Still the best-looking adventure comic on the shelves.

This is just a really smooth and compelling book " easy on the eyes and downright delightful in terms of story. And, as Vince noted, this is a great young adult read " particularly since the focus is on figuring out your identity in something of an oppressive setting. So, use your head: read "Five Weapons".

All told, "Five Weapons" isn't exactly following up on the promise it showed in its first and second issues, but it's still mighty entertaining and beautiful to look at. And with just one issue left, let's just look forward to Robinson sticking the landing as that intriguing subplot comes to light.

This is the kind of sink-or-swim fantasy series that demands immersion, and really, the kind of series that renders reviews de trop. After all, if you liked the ambitious worldbuilding of the first issue, that, alongside the abrupted charisma of the art, should be carrying you through. Otherwise, like this reviewer, you'll find it hard going.

By the end of the issue, the notion left hanging is what, exactly, Cadence is trying to atone for " and while it's not the most unconventional of cliffhangers, the emotional dimension of this book is well-developed enough that we understand the answer isn't a simple matter. The "how" of this story is looking to be more important than the "what"; and with a first issue this intense and intricate, this is one "how" you won't want to miss.

This isn't the strongest issue so far, but "Furious" is still a powerful tale told with a lot of conviction. We're witnessing tangible character growth in Cadence Lark, the kind of development that makes a series feel like something weighty and relevant; and at the same time, the emotionality of the narration and art makes it hard not to relate to Furious's predicament. Brash, bloody, and ultimately cathartic, "Furious" just keeps on surprising us.

And so, and while there's nothing terribly exceptional or surprising happening in this third issue of "Ghost", the writing and the art are rock-solid, building up a story that has been near-seamless in execution so far. It looks we have plenty to look forward to from our spectral heroine.

In the end, the issue feels a touch longer than it should; but bearing in mind how far the story gets in this limited space, it's impressive that the chapter reads as smoothly as it does. Between the versatile writing and the atmospheric art, "Ghost Cop" is an altogether surprising little read, drawing us in with two interesting and complicated main characters and already showing a bit of thematic depth. It's not perfect, but this mournful, intricate first issue is definitely worth checking out.

We've got an ending here that works and doesn't work, staying true to the thematic core of the story without paying off all the elements of the plot. But besides wishing that it could've been longer, or that the story had been less ambitious (and why would you do that?), there's not much more you could ask for. It's an exploration of an archetypical figure, with versatile art capturing the most engaging facets of it. While "Ghost Cop" hasn't succeeded entirely, it's at least done something interesting.

If you're already on board with "Ghosted", this issue will definitely not knock you off; and if you're still making up your mind, it might just rein you in. It's a great-looking book, and if this issue is any indication, Williamson's got even more surprises in store. And at the very least, you know this is going to stack up into a gorgeous trade paperback.

An energetic title that charms and delights.

And so, while we may still be waiting for the thematic weight of this story to show up, the sheer gorgeousness of Stokoe art is making the wait a thrill. The fast pace and economical storytelling, meanwhile, are both working to the series' advantage, zipping us through this old chestnut of a story in a way that makes it feel new. This is definitely a series to see through to the end.

Simply put, this is one masterfully executed final chapter to one epic story, and it's kind of a sad thing to see it coming to an end, however spectacularly. Still, I think it's pretty much guaranteed that we'll be seeing Stokoe's name on some similarly amazing titles soon. And for now, we have a tremendous title to recommend to all our monster-loving friends.

If you aren't reading Grim Leaper already then it may seem a little silly to jump on this late, but in the case of this issue, the backup story alone is cause enough to pick it up. Written by Multiversity's own Jeremy Holt and illustrated by Chris Peterson, this technological romance gives us a look at Siri's kinkier side. I won't say any more than that (it's only five pages after all and I don't want to give away the whole thing!), but both the writing and the art are sharp and unnerving. All in all it's pretty messed up, making it the perfect complement to yet another helping of Wiebe and Santos' gory love story.

A limited but enjoyable lowbrow adventure.

Overall this is a solid issue with a strong, simple hook, and just a couple of hiccups in the visual storytelling that don't detract too much from the excellence of the action scenes. If you're a fan of pulp-inspired adventure with some scales and fangs on, "Half Past Danger" should definitely be your cup of tea.

"HaloGen" is obviously an unconventional read, and not everybody's cup of tea. But it's also got some tried-and-true elements: a compelling heroine, an epic quest, and a staggeringly big universe to explore. It feels fresh and classic at the same time " no mean feat, and a clue that we can expect great things from this sprawling tale.

All things considered, "Happy!" may not be for everyone: it's abrasive and it's cold, going for shocks and jolts as well as a slower-burning sense of unease. That said, it's doing interesting things with the abrasive coldness, setting up a neat duplicity between what it seems to be about and what it could, potentially, be about. And knowing Morrison, there's a dense and multi-layered fable brewing here that's definitely worth seeing through.

Sophisticated shivers accompany well-thought-out character development. Haint bad at all.

All told, this is a strong start to what promises to be yet another excellent miniseries from Image Comics. If you've got the stomach for it, it's an engaging read, written to fit its short run well (even if that means mystifying us a little) and illustrated for maximum chills. And if you haven't got the stomach for it, it's probably still good. Just don't pick it up before lunch.

Lieberman and Lorimer got off to a good start with "Harvest" #1, and this series keeps bringing the goods. The creators are making excellent use of the limited space afforded by a miniseries, crafting a hard-hitting story that's both smart and visually arresting and doesn't skimp on the character development. Most remarkably, the delicately-handled pacing is making this a series that doesn't cry out to be read in trade, even though I'm sure it will look great that way too. A miniseries that really exploits the single issue format isn't something you see everyday " and when the story is as complex and absorbing as the one that fills the pages of "Harvest", the result is one truly accomplished horror comic.

All told, "Harvest" is continuing in fine fashion. By the end of this issue, Dane's situation is stickier than ever, and it's looking like we have a jaw-dropper of a last issue to look forward to " even if, or maybe even because, there's zero chance that Dane is getting out of this alive. Oh, Shadowline comics. Never change.

Overall this has been an unusually good series, pulling together a lot of detail and managing a nice " and terrifying " sense of realism. It's definitely not pleasant to think that one of the most profitable businesses in the world involves cutting organs out of desperate people and putting them into rich ones, but insofar as an thriller centering on this subject can be wonderful, this has been a wonderful thriller. It's also likely to make for a riveting one-sitting read in trade paperback, so for those of you who have been waiting, pre-order it already! Other than the ending " which errs too far on the abstract side of things, at the same time as baiting us for a sequel, which doesn't seem to be in the cards at the moment " this has been a satisfyingly scary read.

So are any of you really surprised? Overall, this is just another great issue of "Hawkeye". Overall, it's a great Kate issue. Overall, it's fun and action-packed. Overall, just buy it already.

All told, this is a fun conclusion to well-thought-out, visually arresting miniseries. And with more of it to come, 2017 is looking awfully bright.

All told, this is a satisfying second issue that successfully navigates a difficult moment in the plot, delivering exposition while still gesturing toward the story's emotional core. Terrifying as it is, this is a headspace worth getting into.

Overall, this series is progressing along nicely, doing all kinds of interesting and surprising things with our idea of the zombie and, in so doing, crafting one unique story. At the same time, it looks gorgeous, and between Bunn's careful writing and Jones' expressive art it's hard not to feel for these characters. It'll be exciting to find out what's next for our (significantly changed) draugr friend, and see just where this new alliance takes him.

Overall "Hell Yeah" is a bit of a mixed bag, visually and thematically interesting but never quite coherent. If you like the idea of clashing nineties superhero conventions with modern ones you might enjoy this series, but the lack of a single compelling thread holding them all together has made these first five issues an exercise in frustrating storytelling.

As you can probably already tell, "Hit" is noirish done right. The art looks great, the narration rings true, and the plot goes in the darkest of directions. And while, as a story, it might not constitute a new twist or experimentation on the tropes of noir, it doesn't pretend toward doing so anyway. Rather, "Hit" gets at the heart of what makes noir so compelling, and plays out the formula in all its glory.

I was on board with the first issue of "Hit", and the series has only gotten better, plumbing the political complications of the world of underground crime, as well as the moral ambiguities of Slater's position, and coming up with solid gold. At the same time, Del Rey's art has captured the atmosphere and run with it, putting all of us readers in the hot seat as the story unfolds. If the going so far is any indication, "Hit" #4 is going to do just that " like a pile of bricks.

All things considered "Hoax Hunters" isn't doing its premise justice on the level of story in this issue, and while this may be the result of a slower pace than is employed by most comics, the character development isn't coming to the fore in order to compensate. What's left is an issue that's neither here nor there in terms of action versus character development, that has a few art-related problems besides. If the third instalment doesn't step things up in a major way you may want to put this series on notice.

It's all a bit superficial, but then, that's a little like complaining that your birthday cake has too much icing. "It Came!" is a thoroughly enjoyable and funny comic, and it looks like we have plenty to look forward to as the carnage reaches its apex.

Overall this is a fun issue that looks great. There's nothing terribly remarkable about it storywise, but good fun is good fun and sometimes that's all you need in a one-shot. And as a jumping-on point, this is a great way to get a feel for the Madman/It Girl atmosphere. It's just not absolutely essential either.

All told, this looks a lot like one of those rare cases of a first-issue-of-a-miniseries going off without a hitch. It's a little bit "Mudman" and a little bit Holes, but mostly just its own, weird thing " memorable and more than a little troubling, but engaging all the way through. Time will tell if Lapham can keep up the pace " but so far, "Juice Squeezers" is looking to be a fun read for more than just the tweens.

"Kaijumax" is one of those really wonderful comics that needs no explanation. It's unusual; it's visually appealing; it's funny; it's hella dark. Some may find its remixing of other stories and genres derivative, but it's hard to argue with the fresh, almost breezy, execution. For anyone who's ever wondered where the monsters go once the rubble settles, "Kaijumax" is skyscraper-tall tale that's sure to please.

Overall, this is a beautifully executed, bite-sized bit of slacker-superhero fun " and it'll only set you back 99 cents. Plus, it's slated as the first in the a 12-part series, so we've got plenty to look forward to from this punchy title.

"Krampus!" has been charming from the get-go, and it's certainly keeping up the charm, presenting a twisting, various story that breathes new life into an iconic character and transcends seasonal appeal. If you're at all partial to keeping a cranky perspective on things, this continues to be a light and engaging read that will warm the cockles of your two-size-too-small heart.

With its deftly laid out action sequence and pitch-perfect handling of Josie's home life, "Lady Killer" comes up a surprisingly quick read. And between its choice of era and tendency toward ultraviolence, there's a hint of the wish-fulfillment fantasy. This guilty-pleasure angle makes it hard to ignore, and in the end, the greatest strength of "Lady Killer" is that it never pretends to be anything other than it is: a big, campy, and darkly comedic bit of fun.

Penultimate issues of four-part miniseries don't often make great reads on their own; they serve to get us someplace, and in short order. But the emotional resonance of this one " that, and its structural finesse " keep it memorable, making this apocalyptic tale feel like something special. We won't be sure of that, of course, until the conclusion; but with a lead-up this compelling, "Last Born" #4 is going to be a must-read.

Some flaws notwithstanding, "Lazarus" is a powerful and engaging story that's continuing to build on a solid thematic foundation. It's not often you come across a post-apocalyptic story with this much depth and weight to it, or which centers on quite so compelling a protagonist, and with every new development the narrative force only seems to build. With a gigantic, complex world to explore, and a fascinating character to lead us through it, by all counts we've got nothing but great things to look forward to.

All told, this is an exciting read that's troubled by a few hiccups but still suspenseful and enthralling. And while there's no shortage of sci-fi comics these days, in terms of polish and out-and-out intrigue, "Letter 44″ already stands out as a unique and arresting piece of work. This will be a second issue worth looking forward to.

This series is really hitting its stride, managing a balance between tension onboard Clarke and politics back home and laying it all out with beautiful, eccentric art. First contact stories are notoriously hard to pull off, but here we're getting a believable, surprising and thoroughly compelling vision of what it could actually be like. Realistic science fiction doesn't get much better than this.

"Liberator" is, above all, a polemical comic, and as such it serves its purpose well. It's redeemed more by its message than by the actual nuts and bolts of its storytelling, and those coming to this comic expecting nuance or introspection will likely be disappointed. This said, the grittiness and high stakes of the story are sure to win this series its fair share of fans. And you can feel good about giving this title a try: 30% of profits go toward animal rescue efforts.

Overall, this series is proceeding along just fine " a few hiccups in the writing notwithstanding " and I'm sure we have a great second half to look forward to as Roland's situation intensifies and we get to see more of this remarkable world. It's too bad this is only a miniseries, though " with all the world-building going on, this would spread out nicely into an ongoing.

When you get right down to it, this is probably a better introduction issue than it is a conclusion. Overall, it feels like we're just gearing up. All our characters have assemble, and revealed (some of) their underlying motivations; we've got some romantic tension (heck, maybe even a love triangle); and most importantly, we've got an elaborate sci-fi universe all set up, with a war waiting on the horizon. Whether or not this issue succeeds pretty much depends on whether or not you're rooting for an ongoing; but in terms of its ambitions and overall scope, I think "Lost Vegas" has always been long-form comic at heart. Now let's just hope it gets the chance to realize all that potential.

Flaws aside, though, "Lot 13″ has a lot of potential. It may take another issue to see whether this one is worth sticking with until the end, but as things stand, if you're looking for slow-burn, traditional horror story, this comic is worth a browse.

Overall, there isn't too much to write home about in this collection, and much less to die for, but it's worth a look for Gieni's art. Or if you just feel like getting a bit depressed about love in general, but then, you don't need a comic book to do that.

"Lumberjanes" has got its heart in the right place, continuing to deliver a lightweight all-ages story that's intricately wrought enough to warrant multiple re-readings. And now that it's an ongoing, you've no excuse not to invest in this delightful romp of comic. If you haven't checked it out yet, be sure to give "Lumberjanes" a shot; it's great read in its own right, and it'll get plenty of lend-out mileage.

All told, this is a beautifully-paced first issue that broaches all kind of themes and establishes a compelling underlying tension. On paper, it's the kind of plot that sounds horribly difficult to pull off; but Dingess and Roberts have done a terrific job here, establishing the ugly side as well as the wonder of this expedition to the West. "Manifest Destiny" is looking to be one revelatory journey.

While it's still entertaining reading, and full of astounding art, this series has come up shallower than expected, only scratching the surface of its troubling premise. This might not always be the case; there's plenty of story left to tell. But this arc has ended on a conventional note, emphasizing the exotic in its historical source rather than bringing its moral difficulty home.

There are only so many ideas in the world, and I'm the first to champion solid execution, rather than a novel concept, as a reason to get excited about a comic. And so, while "The Mantle" may feel a little familiar, its tight construction " Brisson's skillful plotting, and Level's cogent mixture of styles " are enough to recommend it.

This isn't the first horror story about a deadly meme. As the comic itself remarks, a meme is just an idea, and within those parameters something like The Ring or your favourite espionage movie would probably quality. But "Memetic" is refreshing. It's all in the way it integrates the silliness, the "lightness" of many activities on the internet, and turns that simple, harmless aspect of it into something terrifying. While we may have little to fear from our Bad Joke Eels and Actual Advice Mallards, I think we've known for a while that the potential is there.

As with the majority of miniseries, the dense writing and heavy atmosphere is likely to make "Memoir" a much smoother read in trade than it is in single issues. (It doesn't help, of course, that this one was serialized over a particularly long period of time.) It's in macro terms especially that the value and interest of this series comes across, everything adding up to a nice sort of comment on small town life and what it means to know who you are and where you came from. Here's hoping that another series really is in the cards; when it's portrayed with this much nuance and unnerving detail, a town like Lowesville really is worth an extended stay.

In the end, there's a touch of the self-consciously edgy going on here, and the too-weird-for-words plotline isn't going to win everybody over. Still, this is an odd concept beautifully executed, and McKeever is likely to win some new fans with this thoroughly gritty fable. It'll be worth sticking around to see just how weird this gets.

"Mirror" is holding to the standard that the first issue established, painting a beautiful world and populating it with lots and lots of nonspecific story. It's a treat for your eyes but a tax on your frontal lobe. I wish I enjoyed it more.

A beautiful but brutal comic that rewards engagement.

The issue ends a little suddenly, and does, for a moment, up the cheese factor, but if we know this heroine " and I think, by the end of this issue, we know her just well enough " then we do have a clue as to how this new element is going to be resolved, and it ain't pretty. Meanwhile, there are plenty of questions up in the air that are bound to have some dizzying answers in future issues. As a whole, this is one refreshing take on the science fictional genre for being such a quiet, terse and subtly emotional one " and those high-flung concepts standing at its centre certainly don't hurt.

Overall, this comic is continuing on being delightfully odd at the same time as grounded (mudded?) in some solid themes. It'll be exciting to see where this slightly more determined Owen takes the story, particularly now that it's getting even more complex, and if a certain (foreshadowing?) moment involving lyrics from The Cure is to be believed, we're not the only ones with something to look forward to. Keep buying "Mudman"!

Overall, this is a fun and fitting addition to the Mystery Society mythos, and required reading for any fan of the series " even if the art might alienate some readers. Otherwise, it's a solid one-shot comic that should arouse some interest in the series as a whole while still being entertaining on its own. Now let's just hope there's more where this came from.

Looking back over the issue, it's hard to find any moment that's out-and-out horrific. While there are demons and monsters everywhere you look, the emphasis is more on emotional darkness than on any grisly details. In this way, the sense of horror envelops the issue, feeling continuous with and inseparable from the overall stylization. There's a right way to do old-fashioned horror, and if anybody needs a case study, this comic, despite one or two hiccups, is an excellent guide. With a compelling central concept, sumptuous art, and a brooding protagonist we can't help but feel for, "Nightworld" offers the perfect blend of camp, atmosphere, and emotionality.

Otherwise, though, this series is moving along nicely. It looks great, and these characters and this world really are exceptional in terms of their development and nuance. My feeling is that they've just got to run into each other a few more times for the thematic depth to come through.

Put it all together, and it's obvious that this is one inventive issue; even if Stephenson's script weren't so cerebral and complex, the art and design would make it a definite buy. Sure, the story is advancing slowly; but it's also building one heck of a complicated and believable world. "Nowhere Men" just keeps getting better and better, and if the spirit and energy on show here are any indication, there are some seriously fun issues ahead.

It's still "Nowhere Men", and it's still great.

Overall, this is a lovely and complex beginning, and while I think some of us might be a bit tired of reading about heavenly bureaucracies (the humour of it, at least, is getting a touch stale), there's enough gravity to our surly protagonist to keep us interested. This one should be worth seeing through.

Capping off an intricate plot, and resolving as many logical loopholes as it does character arcs, this ending is as satisfying as you could ask for, as well as distinctive and novel. Here's hoping this story will find a (highly apropos) second life in trade " it's profound and visually dynamic as all get-out, and will certainly delight its fair share of overthinkers.

In any case, the situation Oddly is in at the end of the issue opens up a whole new spectrum of possibilities, and seems to signal a shift in tone. Whatever awaits Oddly, it feels safe to assume that we'll get out of her head a little more in coming issues. At of the end of this chapter, though, "Oddly Normal" already has plenty to recommend it: subtly expressive art, a compelling viewpoint, and some really good-looking rain.

You can get ahold of "Orc Girl" in print or digitally directly from Challenger Comics.

A fun and stylish adventure with staying power.

All told, this is an intriguing, if not entirely perfect, first issue that does a fair amount of world-building and scene-setting in little space. And while it's a bit early to read for subtext, this Generation Y-er thinks there might be an overarching metaphor here, and a fairly apt one at that. At any rate, it's hard not to look forward to the second issue of "Pariah". We've got a politically complex " and quite mysterious " group of people to deal with, and they're certain to have all kinds of secrets to reveal.

A quick, acerbic read with heaps of visual flair.

We've yet to invent a word for wanting to like something because you can see what it's trying to do, but ultimately being disappointed because it's falling short. Until we do, I haven't got much in the way of a pithy summary for this book. I do know that charm is an elusive quality; you can't add it to a comic like a coat of varnish. It emerges when the concept, the art, and the structure underlying them get along well; when they seem to belong to each other. And unfortunately for "Penny Dora", its component parts seem to come from different kits.

Overall, this is another great issue of a series that has only been getting better and better as it goes on " no mean feat for an ongoing. And while not everything turns out peachy as the end of this issue, Julien makes it clear that with Peter around " and now Tiger Lily " there's hope for the future.

It seems perverse to think that a series centering on Nazi-occupied Paris could be so enjoyable, but the way Wiebe and Jenkins have been laying it out, it's a thoughtful, dark, heartening and terrifying adventure, as well as a unique twist on a mythology that many of us have grown up with. This issue pushes the characters near the apex of danger, and while we're sure to see them tested further in future issues, there's an irresistible, ferocious, mischievous spirit at the heart of this series that drives the story buoyantly on. Peter and the Lost Boys are not giving up without a fight.

Ostensibly, this issue ends on a lighter note, but some moments in Curly's narration hint at further darkness to be explored and endured as the series moves on. It's a delicate balance " achieving that sense of closure without tying everything up completely " but this issue manages it, gesturing toward further complexities and bits of detail for the next narrator to explore. And so, while it does feel a bit rushed, this is a satisfying conclusion to the Paris arc and a solid issue in its own right. There's just very little indication as to where, specifically, this series is going to go " so for the moment, we've got to sit tight and wait for the crocodiles to come a-chomping.

The whole package holds together beautifully " and by beautifully I mean horrifyingly, because this is a story with fear and dread at its core, and fear and dread you will feel by the issue's end. The cliffhanger, too, is masterly, capitalizing on the switch in time period and subject matter to build anticipation for the next issue. Of course, this turn could very well make for a switch in tone; it's hard to say whether the feeling of this issue will be sustained. But the tension that runs through this chapter " the themes that bolster this tension " hint at depths to be explored.

Overall, this first issue of "Planet Gigantic" is pretty good, putting together a mythic world and setting up some main players. Keeping in mind the unpredictable plot of "Deadhorse", I wouldn't be surprised if this series followed a similar course; but as it stands, it's a bit forgettable. The comic engages while you're reading it but doesn't give a lasting impression as of yet, and it'll probably take a look at the second issue to decide things one way or the other.

While this isn't a perfect issue, it's still got a very long list of strengths, and the plot has moved certainly moved forward enough and raised the stakes high enough that the final chapter has its work cut out for it. And while the emotions here may not always been running as high as they could be, the sheer spaciousness in terms of art and plot elements gives it a lot of weight, making this a chapter that more than makes its imprint on the mind's eye.

Overall "Point of Impact" is a fun little read that is sure to entertain with its slightly soapy mix of police procedural and melodrama. There are deeper comics on the shelves today, but with its sharp artwork and strong pacing, it's definitely worth a look.

Overall, however, "Point of Impact" is keeping admirably stylistically consistent in terms of both storytelling and art, and as a whole seems indicative of a strong and unified vision on the creators' part. Meanwhile " lack of character development notwithstanding " the solid new plot developments that occur in this issue make it feel like the best instalment yet. Get this one in single issues if you can " the cliffhangers (and there definitely is one here) suit the format wonderfully.

Overall, "Polarity" #2 is a strong follow-up to an excellent first issue, and it's got so much in it " humour, a bit of social criticism, and yes, something of a superhero story " that (hipsters be horrified!) it's actually got wide appeal. Be sure to get onboard with this one before it's cool.

"POP" is is a lightweight but enjoyable first issue that shows plenty of promise. The art is accomplished, capitalizing on the more unnerving aspects of Elle's journey, and the writing is admirably concise. It's the question of character development that's up in the air now; but regardless of any hiccups, "POP" has got our attention.

You knew it would show up eventually! But maybe I'm misrepresenting things. Even if there weren't a teenage rebellion brewing here, an anarchic energy runs all through "Punk Rock Jesus", radiating from every page. This story isn't so much about religion per se as it is about facing up to what life has handed you and undermining it as vitally as you can. And if the third issue is any indication, this well-developed, nuanced and subversive series is gearing up to ask some major questions.

It's all very compressed, with the issue ratcheting along to its conclusion and giving all the new information zero room to breathe, and despite Murphy's graceful layouts, the amount of information packed on each page can feel like a jumble if you don't scan it all very slowly. An extra issue " or even two " certainly wouldn't have hurt, but as things stand, there are worse things to cap off a brash and kinetic series with than a brash and slightly confusing last chapter. This has been an exceptional series, and the ending " with all its layers of complexity, and unanswered questions " does it justice.

But to get back to my opening question: it's clear after three issues that punk " for "Punks" " is all about the chaos, the energy, the restlessness. It's about plotlines spiraling out of control and the well-meaning but rather impulsive bros who are along for the ride, railing against inexplicable powers-that-be. If you're not expecting a lucid, novelistic read " and if you've got a rebellious spark somewhere in you " you'll find "Punks" plenty palatable.

Moore is really raising the stakes here: Rachel and Jet's friendship has been such a strong presence in the series, grounding its supernatural content with something believable and charming, and I'm anxious to see how Moore handles the introduction of Malus to all this. Actually, "Rachel Rising" #9 is a stake-raiser through and through, requiring a bit of an infodump to get the new elements of plot moving but an absorbing and arresting read nonetheless. "Rachel Rising" is becoming a big story indeed, encompassing the earthly and the demonic and the places where they intersect, and if #9 is any indication, its readers are in for a hell of a time.

Cap it all off with one of Moore's most hard-hitting covers yet " that is quite the smile! " and you've got another visually accomplished chapter to Rachel's story. Certainly, on the level of plot, the pace flags a little here; but overall it seems unlikely that "Rachel Rising" in winding down. On the contrary, this issue has the air of the calm that comes before the storm. It's a necessary " if slightly inconsistent " bridge between more intense and action-dependent chapters, and, like that splash panel, it seems like it's serving its purpose well.

Terry Moore has made it clear that the sales numbers on this series are dropping, and if you've spent any time in the comicky part of Twitter lately, you've likely seen #SaveRachelRising here and there. Of course, regardless of whether we "save" it or not, "Rachel Rising" is and has been an excellent series. But it certainly deserves a larger audience than it has; and while it's a little late in the game to tell you to jump on "Rachel Rising", this would certainly be the moment to tell your friends about the new arc coming up (at issue #25). This series clearly still has many avenues to explore, and it's hard to turn down the prospect of spending a little more time in a town as terrifying as Manson.

This has been a wonderful, terrifying journey, and this final chapter contains much of what has made the series great.

All in all, fans of the series won't be disappointed; this is another great issue of "Rat Queens", with all the swagger and nuance we've come to expect from the title. Newcomers might want to pick up the trade paperback, though; there's a lot of backstory here that it wouldn't hurt to catch up on.

Overall, "Reality Check" brings us home with a feeling of squandered potential. This might have been a really solid story about coming face to face with the role you're playing in real life, but in the end it's more of a retreat back into the same way of being. As such, it's entertaining enough; but my feeling is that meta stories about superheroes should have a little more brains than brawn.

All told, this comic has got one heck of a concept, and while it's not exactly being fully exploited, it still makes for an intriguing twist on the burnt-out cop story we all know so well. Some flaws notwithstanding, folks who like their noir with a twist will likely get a kick out of "ReincarNATE".

All told, there's a lot of neat stuff going on in this issue, and while it doesn't have the capital-A Awesome factor of the first two there's still plenty to enjoy. It's always a pleasure to see creators taking a moment to let character development come to the fore, and when the development is as credible and well thought out as this, it barely feels like a break. That said, I think we're all ready for another bout of Reviver action in issue #4, and to learning a little more about the phenomenon that's taken hold of Wausau.

Taken on its own, this isn't an exceptional issue, but "Revival" isn't a single-issue-oriented series to begin with. The arc is what matters in a character-driven story like this, and the shifting circumstances in Wassau continue to turn up opportunities for character development as well as fresh scares.

These recent issues haven't been entirely smooth going " some of the layouts feel rushed, and the colours (outside of Cooper's section) seem a little muddier than usual. But overall, this issue is as engaging a chapter of "Revival" as you would expect. It picks up multiple threads of storyline, gradually develops its characters, and slowly, slowly, unravels the mystery that's hanging over Wausau.

As you've probably already gathered, it's looking like this arc-ending issue couldn't have been done any better. Well, we all would have appreciated a little more The Will, but them's the breaks. Otherwise this is a fitting end to what has been an exhilarating rocket ship ride so far. The downside to this fact, though, is that we're likely to miss "Saga" that much more during the multi-month wait between issues. Stay strong, guys. This is one series that's worth our continued faith.

It's a testament to Fraction and Chaykin's talents that a book spanning such an intricate series of storylines can keep us consistently interested and involved; the sense of forward momentum that this story has built up is impressive. At the same time, the emotional dimension of this story can't be denied. "Satellite Sam" is about as much fun as you can have while feeling like you're seeing something you shouldn't, and one of the more involving, implicating comic-reading experiences to be had.

Actually, the main strength of "The Secret Adventures of Houdini" as a whole may well be that it's not afraid to be splashy, interspersing as it does some fairly realistic and grounded moments with high camp, and even some slapstick. Hunt and Von Gorman seem to have determined that when you're addressing a figure as infamous as Houdini, it's go big or go home. This is a big story, all right, and if it's not exactly a perfect comic, it's still got charm and energy to spare.

All told, this isn't the issue where things start "happening" " but then, it's starting to look like that kind of issue isn't really in the cards. Not in a bad way, either: this just might be the sort of series were you find yourself adjusting to a certain atmosphere and pace that you might not exactly be used to, where you find yourself experiencing something that's different than what you set out for. And I know you're waiting for another sex pun in there somewhere, but I won't give you the satisfaction, and neither will this book. "Sex", in a lot of ways, is about frustration, which is the opposite of sex, but damned if it isn't an interesting theme for a certain kind of slow-paced and thoughtful fable. This series is definitely going somewhere, but it's subtle, and in order to get something out of it you have to engage with the complexity and yes, the ennui, yourself.

In conclusion, in sum, all told, overall, "Sex Criminals" is fantastic, continuing to amaze with its unique mix of sexual frankness, humor, emotion, and that little touch of mystery. I don't know how Fraction and Zdarsky do it, but they do it. Hard.

By the end of this issue, the slow intrigue has definitely been brought to a crisis " and looking forward, one can reasonably expect that things are going to get more action-heavy. As things stand, though, "Sheltered" is a thoughtful story " one which, like Brisson and Walsh's "Comeback", has enough little complexities built in that you could probably discuss and debate it all day. The real question now is how Brisson and Christmas are going develop the themes they've already set up.

Bearing the end of the issue in mind, this is definitely not the comic to read if you want to feel good about the world, or human beings in general. But as terrifying as things are getting here, I think the really interesting part of the story will be seeing how Victoria gets out of this situation, potentially building up a new community. Still, "Sheltered" has been and continues to be a reliable source of psychological horror, and it's giving its readers more to think about than ever.

All of this said, this first issue of the new arc is everything we've come to expect from "Sheltered", plus a little bit more. Brisson and Christmas have a slightly broader palette to work with in terms of themes and emotions by the end, and things are all the more horrific for it. It's a great moment to jump on this series, as well an interesting side-trip for invested readers, and the fact that this issue manages to be both without getting too exposition-heavy is pretty damn impressive.

It's playing some games with us, but "Shutter" is a lot of fun all the same. Part of it is the gorgeousness of Del Duca's work; part of it is the emotionality lurking somewhere under all the antics; and part of it is probably the antics themselves, depending on your tastes as a reader. In any case, "Shutter" is a lively read, and it promises some hard-hitting revelations in issues to come.

Despite a wealth of exposition, "Skinned" goes down like cream soda, introducing a world that's only a hop, skip and a jump from our own. It's putting forth a big concept and asking big questions " but most importantly, it's casting an aesthetic spell, making use of the very process we're supposed to be questioning. That's no mean feat, and exactly what we need from a comic about the seductiveness of technology.

Although this isn't a perfect comic, it's got a unique premise that has been executed with style and conviction. There's a lot of room for this story to grow " not least because Terry still has to figure out a way back to our world " so you can expect all kinds of surprises from "Smoke and Mirrors" in the future. And I think we can all be glad that creators Costa, Armstrong and Browne have got a couple more rabbits to pull out of this hat.

The chemistry between the art and the writing is rock-solid, unbelievable plot devices or not, and overall, this is a fun and entertaining comic, if not exactly a realistic one. Things continue pretty much in the same vein as the first issue, so if that was your cup of tea, you'll like this one, too. But the sped-up pace and slight logical disconnect between the sequential events of this issue will prove a deal-breaker for some.

This definitely isn't a gleeful book, but now that it's reached its final chapter, it's rounded out into the sort of tale that's been cropping up a lot these past few years. That's not a point against it, either: I just mean to say that it belongs to the group of books that go about metaphorizing what it's like to be young and offered as few chances to succeed as possible, and how disheartening and corrupting an experience that can be. The last page of this issue may hit that note a little hard, but it's this bit of thematic/political depth that makes the story feel weightier now than it did during the first three issues, and which is liable to make a story that was solid in serial even better collected. And so, while it's been a bit inconsistent, "Snapshot" drives its point home " and does so in high style.

All told, this is a good-looking #1 that sets up an engaging but conventional story. Solar may be a dated character, but the stylish art and able exposition of this issue make it easy to fall back into this story, and enjoy it for what is it: a superhero tale with a wealth of moral complexity just under the surface.

Overall this is a fairly strong issue. If you come to it expecting werewolf antics right off the bat you will be disappointed, but at core this is a comic about race and about growing up, and it's making good use of the slower pace as it explores these themes. This careful treatment of its themes as well as the nuanced portrayal of its main character are sometimes undermined by the comic's tendency to underline its central metaphor too many times, but fundamentally, "Southern Dog" has an important story to tell and is doing so in high style.

This world is continuing to grow, taking on new nuances and fleshing out currents of history as we go. It's refreshing to read a comic whose success relies so much on the reader paying attention, and if "Sovereign" continues to succeed, it's because it's an intellectually stimulating read on every level. Roberson's writing and Maybury's art conspire to build a world that you have to participate in to understand, and with this second issue, losing yourself in this accomplished a tale continues to be a thrilling prospect.

It's definitely got a dark side to it, but this comic still adds up to a romp " a romp with a conscience, if you will, because it's clear Duke is going to have to square himself with a lot of uncomfortable truths before victory is his. In any case, between the magnificence of the art and the well-oiled story, "Starlight" is shining bright. It's not too late to catch up!

Overall, this is a solid first issue, showcasing an excellence of execution in terms of both writing and art that makes the most of a well-worn central concept. Time will tell whether this winds up being a formulaic addition to the ranks of Image's excellent sci-fi miniseries, but there's enough good stuff going on here that a look at the second issue is a must.

All told, this is a pleasantly surprising issue in that it expands on many of the elements that appeared simplistic " even cliched " in the first. But, while it's easy to understand why the exposition was delayed until now (it's always a safe bet to work as much action as possible into the first issue) the anthropological/sociological sci-fi content and the emphasis on character are proving to be the strongest and most compelling aspects of the series, and could easily have formed the foundation of a great first issue. Pacing aside, though, this series is living up to and exceeding the potential that it first showed, and doing something both thoughtful and appealing with the tools and conventions of the science fiction genre.

All told, this is an incredibly fun issue that's also trim and well-structured " which is a rarity. And with a start this strong, the rest of the series is looking promising indeed. Be sure to check it out if you can!

That's the title's main strength: despite the wackiness of the premise, Allor's careful pacing combines with Romera's aptitude for portraying emotion in a way that keeps this story grounded and " in its own odd way " relatable. And now that we're halfway through, it's clear that this series is building up in something impressive, even though " or especially " because it's breaking our hearts every now and then. For anyone who appreciates a beautifully-structured story, this conspiracy should go straight to the top (of your reading list).

Andrew Elder's colours, meanwhile, are moody and subdued, matching the vague sense of angst that surrounds Leo's predicament without getting too caught up in darkness.It may not be the deepest story in the word, but "Suicide Risk" is a solid fusion of police drama and superhero story that moves along swiftly, crafting an engaging narrative through excellent use of tropes and fantastic art. And when it comes to down to the essential parts of an entertaining comic, what else do you really need? Now let's just pray for the return of Extended Remix.

This is a fast, engaging read, and coming in a $2.99 for a 52-page issue, it's excellent bang for your buck. It immerses you in a big, action-packed world, and it's full of goofy characters and superhero comic in-jokes that will definitely make you laugh. So, if some action-packed giggles feel like the right thing to top off your afternoon, by all means, get "Super!".

"Ten Grand" is shaping up into something interesting, and while not all the emotions ring true just yet, we're getting there. Meantime, this is one gorgeous world, and one harrowing criminal landscape, not least because the goons involved have more than the usual methods at their disposal. This is underground crime gone magical, and all the more terrifying and fascinating for it.

In the end, this doesn't feel like a one-shot; it doesn't hold together as a compressed capsule and doesn't offer any final revelations. But if this issue is actually a dry run for a miniseries, it's all we can do to hope that miniseries happens. Quantick and Kane might be an oil-and-water mix, but this collaboration makes for an unusual texture that could grow into something great if it had time to develop. In the mean time, this is an entertaining " if unusually-structured " jaunt; and if it doesn't quite capitalize on its premise, the weirdness-to-page ratio is still through the roof.

Overall, this miniseries is moving along nicely, with just the right mix of silliness and genuine suspense, and an art style that matches this mix of levity and intrigue. Best of all, if you thought you were on top of the game at this issue's beginning, you definitely won't be at the end. It's too bad this isn't an ongoing " but at least we've got three more chapters of the "The Answer" to, well, figure out the answers.

It's not often you come across a comic this speculative " the kind of comic that's easy to discuss and have arguments about " and the emotional dimension makes the intellectual one all the more compelling. Agonizing on a small and large scale, "The Bunker" is, on all counts, a terrifying read.

It's hard to discuss this series in anything other than very general terms " the hopping around in time and the deep character development make it difficult to dissect with precision. "The Bunker" is definitely a commitment, a series you have to immerse yourself in and mull over. But man is it consistent: the atmosphere and flavour and overall sense of direness (and if you know me as a reviewer at all, you know that stuff is MY JAM) are as strong as ever. And so, if you're willing to put the time in, "The Bunker" remains an excellent choice for those of us who like our speculative fiction shady and engrossing.

Overall, this is a particularly good-looking comic, and it's a shame that the writing doesn't quite do it justice. Of course, things could pick up next issue " sometimes you need the initial info-dump in order to craft an engaging, complicated story " but as things stand, it's all a bit thin. Here's hoping the execution soon catches up to the concept.

It's gotten to this point in sweep and detours, but with this issue, the overall direction of "The Dream Merchant" seems to have crystallized. Most importantly, it's found pathos in the limitations of its main character rather than simply the situation he's been put in; we're now ready to see him push past these limitations and kick some otherworldly butt. Add to that the subtlety and creep factor of Novosadov's work, and "The Dream Merchant" is in an awfully good place.

It's exciting to see Jimmie Robinson's work again, and this title is a sure bet for anyone who loved "Five Weapons" " or "Bomb Queen", for that matter. There's no saying whether the story will hold up over time, but for the moment, there's enough weirdness " tempered with solid storytelling " for "The Empty" to feel more than half-full.

Overall, this has been a fun miniseries, with an excellent laugh-per-page ratio and a pretty solid story. It's not a big stretch to imagine this title garnering a cult following over the months, and while it's worked very nicely in single issues, it's sure to spread out well as a trade. We need more funny comics nowadays, and with its potent mix of irreverence and intelligence, "Bram and Ben" is sure to enrapture.

Considering its overall beauty " and awarding it a some extra points for ambition " "The Fiction" is definitely an accomplished series, and an enjoyable one, if you plan to read it slowly and give it all time to digest. It just hasn't been a great example of short-form fantasy, however eye-scorching the art.

It's rather brisk, and far from snuggly, but just like its ex-salesman star, "The Field" seems to know where it's going. It'll definitely be worth a second look; I imagine we still have plenty to learn about this mother-loving filth-sucker and the poor guy he's brought along for the ride.

This second issue of "The Fuse" proceeds in much the same vein as the first, and if you were hooked then, you'll definitely enjoy what's going on here. There is a sense of fun inherent to any genre mash-up, and the character work here keep the core of the story relatable. If you're willing to suspend your belief a little, it's an entertaining, if slow-moving, read; and the gradual build-up of this story promises a solid pay-off down the line.

And so, while there is some range in terms of polish and overall finesse between these stories, you really can't go wrong checking out "Infinite Abyss" " it's a refreshing mix, as well as a fairly consistent one in terms of the fundamental quality of the stories and art. And, for those interested, GrayHaven has another horror-centered anthology called "The Dark", which differs from "Abyss" in that creators are encouraged to push the envelope in terms of shocking or unusual content. All told, indie fans have no shortage of short stuff to read this Hallowe'en.

While it's anybody's guess as to how Byrne is going to flesh out a whole story with just three more issues to work with, overall, this is a campy but intelligent start to a brand new sci-fi miniseries. It's probably not for everyone " it is so very 80s " but it holds together well and looks great. Fans of Byrne's work should find plenty to enjoy here.

Simply put, this is a highly inventive first issue, getting across so much while still feeling like something elegant and monumental. There's no telling where it will take us next, but this already feels like an important story.

Between the mostly solid writing and the consistently interesting art, it looks like "The Hollows" is flying a steady course, even if this issue wasn't as wow-brilliant as the first. Most importantly, there's still no telling where it's going. Now we just need more people talking about it.

With two meaty topics duelling for our attention, this first issue is a substantial read. It's the nuanced execution of it all that keeps the material engaging, evoking a mystery without drawing us into it yet. A gorgeous comic with atmosphere to spare, reading "The Last Broadcast" feels like trespassing in all the right ways.

All told, we're still in love with "Li'l Depressed Boy". It's stayed consistently emotional and subtle and sweet and heartening for fifteen issues now, but it still doesn't feel like it's repeating itself. This book keeps avoiding that trap " the one where we stop caring, and tell LDB to grow up " because LDB is growing, right before our eyes. And as he goes along, he's subverting everything that's "little" and "depressed" about himself and his situation, just by being able to be happy. That shoe is definitely going to drop soon, if the last page of this issue is any indication, but with all the emotional development happening here, my feeling is that at the end of it all we'll still have an LDB who's grown and changed for the better. And that's pretty exciting.

Continued below(adsbygoogle = window.adsbygoogle || []).push({});All told, "The Lie and How We Told It" is a visually exciting comic, creating two worlds that engage the imagination in different ways. And like all good comics, it gets better the more you think about it, painting broad ideas with sure strokes but also highlighting the tiny moments that make all the difference.

This may be the vaguest review I have ever typed, but the experience of reading "The Life After" is anything but. So far as confusing comics go, this one is deliberate and deftly-constructed, playing you like an organ and relishing every note. Gabo's art is rough around the edges but compelling, proving its versatility as the issue goes on; by the end, it's impossible to imagine a different vision for this story. And while the plot has you confused by the time you get to the last page, it's a thrilling kind of confusion, asking you to make what you can of the clues while making it clear you're not figuring this out on your own. And if you take that notion as a challenge, well " "The Life After" is likely the comic for you.

This is high-concept sci-fi presented in a rigid capsule of comedy, with all of these elements being eclipsed at the moment by the brass-tacks demands of the plot. If "The Midas Flesh" feels like it's getting where it's going, it's because it's buoyed by the promise of the central concept and the friendly appeal of the art. And so, while this isn't its most entertaining moment, all signs indicate that the best " and funniest " is yet to come.

It hasn't been the smoothest read from start to finish, but with this explosive conclusion "The Midas Flesh" has managed to reaffirm its central concept and send us home in high style. This series has been hard science fiction infused with hilarity; and while it never went quite as deep or political as it could have gone, it brought us to a thematically satisfying conclusion. This will be an excellent read in trade.

All things considered, if you're not reading "The New Deadwardians" already, this probably isn't the best of jump-on issues. That said, it's one of the most well thought out comics to employ those horror standbys, the vampire and the zombie, and the intricate symbiosis of Abnett's words and Culbard's faces will make it well worth buying in trade.

Actually, "cogent" may be the word to describe this series " fleshing out a world and its characters with both economy and bite, this is such a strong and dynamic series that it's almost painful to know it's wrapping up soon. Happily, there are whispers of another series in store from this team " and if it's even half as good as "New Deadwardians", then the subset of comic fans who enjoy both Downton Abbey and The Walking Dead are in for a real treat.

All told " and while it does feel quite compressed " this last chapter is a fitting and satisfying end to what has been a fun and thought-provoking series. Which is to say, while some of the devices are a little worn, the parts that really count " the world-building, and the development of the characters " all stay true to the general spirit of the comic, while still managing to surprise us a little in the end. That's a tricky balance to strike, but this comic " and this series as a whole " has pulled it off with nonchalant elegance and ghoulish charm.

So far as marrying the supernatural with the banal goes, this series is no "Revival" " at least, not yet, and not until we have a real reason to root for our protagonist. If you were a fan of the original miniseries, you'll definitely like it in this incarnation; there's still supernatural mayhem aplenty, and Rob's emotional if immature plight comes across strongly enough. But without previous investment in the material, "The Occultist" casts a pretty weak spell.

As a side note, the physical copy of this comic a lovely object, and you do miss some of the beauty of the thing when reading it in digital. But the price is bumped down to compensate, so if you'd like to get a taste of what "The Outliers" has in store for us all, a digital copy is a solid bet.

Overall, "The Private Eye" is definitely heading in the right direction, and while it doesn't (yet?) have the world-building heft of a book like "Saga", the intriguing themes and magnetic visuals keep this oddball story lurking around in the back of your head. In other words, there's plenty to keep us interested in this comic while we wait for just a little bit more of the plot to show up.

"The Returning" is a lean, efficient read that builds up plenty of atmosphere before you get to the last page. The writing is well-paced, and the art is both seamless and expressive, nailing the paranoid landscape that Beth is negotiating. There's no question that this cliffhanger will make you want to pick up the next issue; with an introduction this intense, checking out the rest of this series is looking like a necessity.

This is the best issue of "The Saviors" yet, capitalizing on a unique locale and pushing its protagonist into an even more dire situation. Robinson's fast-moving plot and Bone's effortless-looking work are breezing us through this series, making it hard not to look forward to the next issue; but in the mean time, a chapter this beautifully executed could definitely use a second read.

It's not quite a noir comic, and it's not quite a tale of Cthulhu; I'm not even sure you could call it "supernatural noir", since so much emphasis is placed on the human element. But whatever you want to call it, "The Squidder" definitely impresses. Fans of Ben Templesmith's work will find the art as eye-blistering as ever; fans of Lovecraft's work will find this angle on the material refreshing. Tough-guy comics are a dime a dozen, but there's enough story-level complexity and visual appeal in this one to warrant a minor cult of its own.

As the story moves forward, resolving a major part of the overarching plot and clearing the way for the Standard to begin superhero-ing anew, it's starting to feel a lot like a fable. There's something interesting going on here, something about innocence and cities and what it means to be a hero, and as it blends humour and introspection and an eye for the details that distinguished the comics we grew up with, "The Standard" sets a new standard for meta superhero stories. This is some fine comic-making, and it will be a treat to see how it all turns out.

The first issue of "The Surface" adds up to a big ol' heap of ideas with " and this is integral " a thread of narrative coherence just strong enough to hold it all together. This thread isn't what will have people coming back for a second issue, though; the appeal here is largely the ideas and the art, in isolation from one another. That's not an ideal combination, but it does have its own flavour and charisma. Established Langdon Foss or Ales Kot fans will certainly get their jollies here; and those who have been skeptical of the latter may find themselves pleasantly surprised.

All told, if you were into the first issue, this one won't disappoint. Ed Brisson and Adam Gorham are deftly spinning out tough break after tough break, and it's hard to look away.

As things stand, there's definitely more going on visually in "The Wake" than there is plotwise. But then, there's every indication that this slow-moving story is going to build into something big as the details begin to stack up. And besides, what happens on the last page of this issue is bound to have one heck of a follow-up explanation. I mean, one would hope so, right?

"The Wake" is still going strong, even though " or because " the answers remain elusive and the overall pace on the slow side. You probably know by this point in the series if it's your sort of thing or not; but if you haven't jumped on yet, and you know you've got a taste for claustrophobic intrigue, for the love of all things oceanic, do jump in.

Anarchic and energetic, "White Suits" has certainly had a good run. It's made the most of the miniseries format, keeping the story to its essential elements and coming up with a tale that feels mythic. At the same time, the variety and nuance of Cypress' art has made this a visually compelling experience, full of a bits of information to uncover on further rereads. "White Suits" is something more than a noir comic; it's a kind of essay on what noir has come to be, laying out a red, white and black world that's all the more poetic for its limitations.

In the best possible way, "The Woods" is a messy story. There are so many factors in play that it could pretty much go anywhere; but we're getting little hints as to which players are exerting the most influence, and that's what keeps our attention focused. At the same time, the woods themselves present a level playing field. There's all kinds of beauty and terror lurking in this forest, and its visual appeal engages the imagination. The feeling of chaos is this comic's greatest strength; a world this unpredictable is worth getting lost in.

All told, these woods are more dangerous as ever, with the human beings of Bay Point proving even more treacherous than the glowing monoliths. You have to be in for the haul with this kind of slow-moving world-building, but the menacing atmosphere and twisty plot keep the pages turning.

The nihilistic mood of "They're Not Like Us" is what keeps it from being an unqualified "Buy", the kind of comic you could recommend to anyone and everyone. But then, that feeling is also what makes it memorable; a raw blister of a comic that nags at you all day. While it's dark indeed " and has got some niche references for high fidelity nerds to enjoy " the sense of nihilism is intriguing rather than estranging. Like Syd, it's hard not to find yourself entranced by this charismatic band of outsiders.

All told this isn't a perfect issue, but for someone who has a particular interest in the topic it may be just the ticket. It's also the first in a four-issue mini, which makes it a commitment of the minor kind. Pick it up for its attempt to give us a look at the world of military engineering, and for its portrait of a genius dudebro who's more likable than annoying. Pass if the prospect of an invention functioning perfectly after a few minor tweaks makes you ill, or if you're a stickler for good-looking covers.

Storywise, this definitely isn't the most conclusive issue ever; it feels more like a brief pause to flesh out Gorr's motivations before even bigger stuff happens than anything else. But so far as pauses go, this one's enthralling. Aaron and Ribic have set us up for another ambitious arc, and there's no telling where things will go from here.

Basically, if you have been reading "Thor: God of Thunder" so far, I have no idea why you'd stop now; and if you haven't, well, every issue is basically a great jumping-on issue, because they all circle the same circumstances. Only it's getting to be a bit of a tighter spiral these days, and it would be a damn shame to miss out on any of the grim spectacle going on here.

"Three" is definitely getting where it's going, parsing out some interesting history lessons along the way. And while this isn't the fastest-moving issue, Ryan Kelly's art makes it a memorable and smooth read. If you were a fan of the first issue, this second one won't disappoint; and if want to hang around Sparta a bit, "Three" will keep taking you there.

Overall, this is a strong issue, and it handles its novella heritage well, spreading out into a gripping if not terribly unconventional comic with strong structural elements but no trace of prosiness. Malhotra's art, meanwhile, helps us get at the existential dread of the story, making it feel all the more wrenching. This definitely isn't the sunniest issue on the stands this week, but it's beautifully executed, all the while serving as a reminder of some uncomfortable truths. And there's something to be said for those.

It's got some rough edges, but the strokes of this story are broad in the best possibly way, setting up an intriguing first-contact scenario that could unroll into all manner of things. For now, though, "Trees" is a visually spectacular vision of first contact that will leave you with plenty to wonder about.

"Umbral" seems to have found a rhythm and stuck to it, and it's doing fairly well within the groove it's carved out. It's unfair to ask for more from a comic than what it's evidently setting out to do; but if the plot of this series feels like it's dragging a little, it may be that we don't have enough reasons to believe in these characters yet. Happily, the ending of this issue does break things up a bit, and whether or not the series continues in this vein, it gives this chapter some heft overall.

Overall, "Uncanny" is fun and action-packed and maybe just a little too slick for its own good. But then, it's nice to see high-concept done well, and maybe as this moves along we'll find a little bit more to sink our teeth into thematically. Either way, between the fast-paced storyline and the accomplished art, this first issue is definitely worth getting to know.

If "Undertow" has pulled you along so far, there's certainly no reason to jet before the final issue. But for those of you who are tradewaiting, I'd give "Undertow" a tentative recommendation. It's interesting despite its flaws, incorporating subtext alongside pulpy adventure, and a solid ending could very well anchor this unusual story.

This is an elegant first issue, building a simple framework for a multitude of mysteries to hang on. The story feels archetypical but somehow fresh; there are so many paths this outsider can take us on that what happens next is anybody's guess. So far, though, this is an enthralling story; and if the bloody event that caps off this issue is any indication, there's a terrifying world behind this Veil.

What else is there to be said? Velvet is a hell of an arresting personality negotiating a deadly and complicated landscape. There's no telling where she's going next, but good lord does this reviewer want to find out.

You don't have to be an anime or manga fan to get into this series, but an appreciation of that side of things certainly doesn't hurt. At its core it's a fish-out-of-water story with a magical edge, and its appeal is pretty broad. And while "Wayward" is following a familiar trajectory at this early moment, the energetic art and careful pacing keep the pages turning.

All of this said, "Debris" is an exciting romp through a desperate far future. And while I suspect that the compressed storytelling will hang together best when all the issues are assembled into a trade, this title's page-by-page beauty makes the single issue a worthy buy in itself.

Overall, this is a well-executed second chapter to an engaging, if not terribly unconventional, sci-fi series. Next issue promises to be a whopper " it's 27 pages long " so if you like a little more bang for your $3.99, you may well get it! Meantime, fans of the steampunk aesthetic " even if there is very little steam involved " should definitely give this series a try.

Nobody's determined the exact nature of the aliens ravaging Crowchurch; but as of this issue, the brutality of said menace has been made clear. The body count is rising " and while nobody wants to see a flamethrower turned on the world of The Wind in the Willows, there's something compelling about the continuing horror of this premise. One would hope that the friendly villagers of any of your favourite children's stories would be able to look out for themselves if they had to " and while their bumbling side is emphasized in "Wild's End", it's clear they're not going to take this lying down, either. What do anger and grief and vengeance look like in such a cozy world? Thanks to "Wild's End", it looks like we're going to find out.

Overall this is a particularly strong issue in what has been a fun and eccentric second run so far. "Witch Doctor: Mal Practice" clearly isn't for all tastes, but between the plot twists, the unusual art, and the downright strangeness of the proceedings, it's entertaining reading. And so, if you've ever had a fondness for the weird and wonderful, there's no reason to keep the Doctor away.

This is probably the best issue so far in the miniseries, exemplifying just how good Seifert is at keeping a story rolling and weaving in all kinds of intriguing background information. And then, of course, Ketner's art is rising to the challenge and getting across all this information in a manner that's both appropriately macabre and concise. Amazingly, it doesn't feel like this story is getting too big for its britches; things have advanced far enough that two more issues sounds like just the right number to get things wrapped up.

Finally, let's not forget that there's more where this came from; this is only the first volume of what promises to be one hell of a series.