A Man Among Ye #1 has all the prerequisite charm I am looking from in both a first issue and a story about pirates. I'm intrigued by the tale that Phillips and Cermak have presented and will be keeping an eye out for number 2 when the tides come rolling back in.

The ending was unsettling out of context, and will probably be unsettling in context as well, but that context is going to be necessary to determine whether or not the series ends up in my pull. This is different from a lot of my usual comics, but intriguing enough that I'll be checking out the second issue.

A Thing Called Truth #1 is a fun way to start a five-issue mini-series, and it's themes and messaging are particular resonant in this day and age. I'm very excited for the wild misadventures Doctor Mag takes her and her driver on, and I'm hoping you'll join me along for the ride as well.

At the end of the day though, when I finished reading Action Comics #1000, I smiled. I smiled because of the pop culture history that was made. I smiled because the more I grow up, the more I realize that Superman is the hero I needed growing up and the hero I continually strive to be. I smiled because it's Superman and how the character Jerry Siegel and Joe Shuster has remained stalwart through the years. I mean, how could you not?

Ultimately, Adventureman #1 is a fantastic introduction to two different worlds, one grounded in cataclysmic ends and earth shattering revelations and one grounded in the day to day life of a single mom and their extended family. The characters on both sides of the coin are endearing and beauitfully drawn, and books like these are why I love comics: the sheer audacity, the genuine warmth, the emphasis on why stories matter.

The Adventureman team has successfully made me fall in love with a fictional family and a fictional character that two of those family members are fans of. This is distilled escapist speculative fiction at its fines and more than worthwhile to read this summer.

It is frantic and energetic and distilled, it's just really well done. Fraction pours ample passion into each of the characters, and their dialog distinguishes and makes even bit characters that only have a handful of moments memorable and magical. And is matched by the wonderful character design of Terry Dodson, while the different aspects of the world are deftly coded by Rachel Dodson's superb coloring. I love this book because it's clear that the creators love the book. It's weird and quirky and unapologetically so, and it combines all of my favorite elements of comics into one neat little package so of course I'm going to laud it and of course I'm going to ask that you please don't wait for the first volume. This is joyful. This is worth picking up today.

Fraction knows how to weave a yarn. He has this deep understanding of character and plot that makes a solid framework for the Dodsons, Cowles, and Olea to manifest into reality. As the conclusion to the first major arc, I find myself delighted and waiting in anticipation for the follow up. This is gonna be a memorable ride, and I hope y'all are reading along.

This comic is fun distilled. There is a distinct passion and love for the campy high literary pedigree, and Adventureman plays with the variety and the ridiculousness to great extent. This is a perfect return to form for current fans and a great reminder for new readers to pick up on the series, because it's gonna be a fun jaunt through all sorts of madness and marvelous moments.

With the real world summer giving way to fall, Adventure of the Super Sons is must-read maxi-series. It shows evergreen optimism and the rediscovery of heroism through the eyes of the best boys in the DC canon.

Even as a big fan, Adventures of the Super Sons #2 constantly surprised me. Whether it was the callback to Manchester Black from way back in the original Superman: Rebirth or some of the plot twists in the second half of the comic, there was a smile on my face the entire time. Tomasi captures the spirit of growing up. As out of this world as these adventures are, there are kernels of honesty and truth littered throughout the issue. Out of all the comics in the DC roster at the moment, this remains my favorite title by a mile and a half.

I love Damian's cockiness, and I love how poorly Damian is handling the two Jon's being that cocky. I love how the Gang, this mini-Legion of Doom, captures the exact type of kid who worshipped villains and tried to aspire to be like them because they thought they were "edgy" and "cool." And I love the fact that the Super Sons have been jettisoned to space after spending so much time on Earth and how ridiculous the whole situation is. It's just fun and bombastic and such a great palette cleanser to all of the darkness currently swirling in DC comics at the moment.

Everything about this comic is just brilliant. Tomasi's script aside, Barberi's artwork is absolutely top-notch and pops off the page with Santorelli's inks and Protobunker's colors. As I said earlier, this series is the bright beacon of hope in the DC Universe. It's a whole post coming-of-age of story. If Super Sons was the traditional "we have to learn to work together by leveraging our uniqueness," Adventures of the Super Sons is the mature follow up. The one where our heroes are tested against an antagonist who stands in opposition of their ideals. It's my jam. It's fantastic. Jon Kent and Damian Wayne deserve a full series run under Tomasi's guiding hand. It's just so whole and good.

The final pages of Adventures of the Super Sons #5 show the creative team in top form. Tomasi's dialog and narration is near perfect and cleverly plays with the various tropes utilized to continue the story of the Super Sons. It's a bombastically fun read, easily the happiest, go-luckiest DC title on the market and this series embodies the very tenants of superheroism. Pick this title up now. Whether it's for you or a younger reader, Adventures of the Super Sons has a lot of heart that will capture your imagination and kindle the innate desire to try and do good in a world that doesn't always do good by you.

If you need something light heartedly and unabashedly joyous, Adventures of the Super Sons #6 is still a perfect way to flesh out your weekly pull. Tomasi's intergalactic journey is still building momentum with every passing issue and as the stakes grow higher, so does my fondness for the Super Sons.

Adventures of the Super Sons is your monthly dose of technicolor youth heroes being joyful even in difficult scenarios. It's an animated series that will hook younger readers and will keep older readers smiling with their various homages and deep cuts into the DC Universe. Adventures of the Super Sons #7 is a strong opener for this last act, and I can't wait to see where it goes next.

The audience, who loves Adventures of the Super Sons by any metric, is going to enjoy this issue and the series as a whole. Tomasi is in his element, and Barberi is clearly having a blast. The series captures the magic of being youthful and loving superheroes and everything just" works, y'know?

Adventures of the Super Sons is bombastic and it's constantly change of pace, while letting us spend more time with the two beacons of hope in the DC Universe. This is a must read for both fans of Batman and Superman. It's what all superhero comics should aspire to be: fun and inspirational.

This is a simple maxi-series. Tomasi has penned a tale of two superheroes-in-training, and Barberi brings it to life brilliantly. It is consistently one of the highest caliber stories in my pull, and the only thing I don't like is that it's coming to an end.

The saddest thing about all of this is that the series ends with #12. Adventures of the Super Sons has not reinvented anything, but rather reaffirmed Jon and Damian's place as the perfect starting point for young and youthful readers. It's simple, poignant, and as I have stated repeatedly: just so very, very joyful.

Adventures of the Super Sons never pretended to be anything that it wasn't. Damian and Jon both got to have moments in the limelight and, ultimately, their dynamic remained engaging and endearing to the last page and will likely continue to be. It's hard to say when we'll have another opportunity to explore the World's Soon-To-Be Finest given the current continuity, but at the same time, I'm just glad we got to spend more time with the boys. They represent an honest bravery that only youth can really embody, and this is a fitting capstone to this particular segment of their lives.

Both stories are straight forward, but the execution is exception and the two stories are well worth the price of admission, especially if you're going through withdrawal from New Agents of Atlas.

Aero #2 is a steal, with two very different stories in one comic. It has something for all audiences and if you enjoy any of the creative team's previous works, you owe it to yourself to pick this up this week.

All in all, I still love seeing Aero when it comes around. In many ways, it's a testament to the Leifen-Pak partnership that I'm already so comfortable with Aero as a character that I want to see her interact with a larger universe. But as it stands, the pacing just feels a little odd this third issue.

The joy of Aero and Aero's interactions with Wave is still consistent. At the end of each read through, I find myself wanting more, which is really the true test of a comic these days. It's a comforting read with great visuals and an all around solid story that, if you've been following along this time, you're gonna wanna see it to the end.

What more can you ask from a comic? You get a peek into what comics look like outside the U.S. You get two solid origin stories of two great heroes that are capable of pleasing both sides of the proverbial brain. And this feels like the right climax, the perfect set up for the inevitable closure to come. That's just good storytelling and comic-ing right there for the taking.

Agents of Atlas #1 is more of the same lovable Asian and Asian-American cast of heroes getting into strange situations. It's very clearly drawn and written with a deep love, and I'm ecstatic to have more issues in my archives and to have more on the way.

Agents of Atlas #2 does exactly what it's supposed to do as the sophomore entry: continue the momentum. Pak's smart, deliberate writing coupled with Leon and Mhan's solid artistry continue to cultivate a wonderful sandbox that allows for equal parts meditation on the Asian/Asian-American experience and the joy of watching heroes save the day.

I've always been here for more Pan-Asian and Asian American superheroes taking charge and Agents of Atlas #3 gives me that in ample dosage. It hits different notes than any other ensemble comic on the market and is an incredible amount of fun and intrigue which keeps me invested every month.

Between the resonant writing and clean artwork from Mhan, Leon, and Rosenberg, Agents of Atlas #4 continues to be a benchmark example of both Asian/Asian-American rep and a good use of an ensemble hero cast. I'm already looking forward to next month.

Agents of Atlas #5 achieves a difficult task. It manages to be self-contained enough with the Portal City threads, while also clearly paving the way for yet another story with the Agents of Atlas. This cast continues to grow in popularity, and it's for a good reason: it's a fantastic series with a fantastic creative team that's doing cool and engaging things with the medium. I am definitely hyped for the next saga, which is really all you can hope from a comic honestly.

It's a normal premise that quickly gets injected with a perfect dose of science fiction that embodies the best parts of the genre. Spurrier and Wildgoose leverage the speculative elements of the world to slowly tease and unravel the different social dynamics at play, all while setting the stage for something grander. Each page is constructed with a very deliberate sense of care, and the end product is a very powerful first issue that will immediately grab your attention.

The inaugural issue is enticing because it shows the jagged edges. It does not shy away from brutality, but it does not revel in it. If this honest reflection can continue throughout the series, American Carnage will be a fascinating social critique, but this book will not be for everyone.

Hill has a fascination with ideology and violence that pops off the page. Fernandez's artwork gives that fascination a body to bruise and break. This is a really good book, but it's an exceedingly bleak book. It's a violent book. It's not going to be for everyone. But the people willing to dive deeper into this solemn reflection of the current political under-climate, they will find a story that turns the proverbial knife in the stomach. They will find a story about monsters and the depths we are willing to undertake to fight them.

American Carnage #3 is the issue where the series distinguishes itself from its peers. Hill's research and honest writing coupled with Fernandez's and White's visual aesthetic continue to shape one of the most thrilling and difficult to read comics on the market, but if you can stomach the violence, you'll find something utterly fascinating.

American Carnage #4 continues to differentiate itself from its peers with each and every issue. Between the sharp visuals that utilize darkness to continually obscure facial features and backgrounds and incredibly realized protagonists faced with unrelenting villains, American Carnage cuts sharp and cuts deep. While it remains a difficult read, anyone willing to engage with story, I think it's safe to say you're going to be engaged with it until it's bitter bloody end.

As we reach the inevitable point in the story where characters finally cross the proverbial line, it becomes very clear that American Carnageis managing to handle exceedingly volatile content with deft hands that captures the zeitgeist of the last few years.

All in all, American Carnage is probably the most challenging book on my pull, but Hill and Fernandez are determined to share Richard Wright's arc, and while it's not the most cathartic piece of media, it's a tragically compelling tale.

American Carnage #7 marks when the series becomes even greyer. With all the set up established and all the pieces in motion on several stages, American Carnages continues to flourish. Hill and Fernandez have coded very distinct storytelling mechanics into the DNA of the series, and it remains as difficult as ready as ever, but the end product is something truly engrossing.

American Carnage is one of the most challenging series I think I've read, but working through the story has rewarded me with a crime tale for the ages and even if #9 is the last we'll see of the characters, they have already made quite the impression.

I'm still not sure I can recommend this comic to anyone. American Carnage #9 cements the series' status as brutal, bloody, and brilliant, but it's an endeavor to take on. It's not something you can pick up off the shelve and read casually. Much like the creative team, you have to have the intent to stare at the darkest parts of this hell time and be ready when it stares back.

First issues are hard. Bunn has the requisite elements for an interesting narrative, but Basilisk #1 is a little nebulous at the moment for me, and I think I need to withhold judgement for the second entry before committing either away. That said, Scharf's artwork is a showstopper and the majesty of the visuals alone make it a decent addition to the pull.

And I think that's the crux of my critique: while they are moments I do enjoy, the overall direction seems a little wonky and something that can't really be overlooked with the conclusion around the corner (which despite my fatigue, I will dutifully read).

This is a start of a new chapter in Batman, and it's very much a solid Batman story. We have a good contrast of the continued duality of Bruce and Batman. We have a supporting cast that's there to support Batman in this time of mourning and transition. We have villains who are still going about their business and have no intention of giving him a break. But it is also just a start, and while the repeating of chorus of "Bruce Wayne has a design for this city" is a tantalizing one, we're going to need see more of what these designs are to figure out if it's more than just solid.

I like Bryan Hill. I like Batman, Black Lightning, and Katana. I love Duke Thomas and Cassandra Cain. While I can understand if there's some fatigue, I'd ask that you take a chance on Batman and the Outsiders #1. Both Hill and Soy are clearly pouring their heart into the ensemble, and it's on track to be a memorable run.

The Outsiders as a unit are still finding their rhythm, but the expert pacing and phenomenal artwork lead me to believe that once this series gets momentum it's going to be a true tour de force. Until then, it's a very solid read all around.

This issue is transformative. It's a realization of what this cast of the characters were always capable of producing in the capable hands of Hill and Soy. This is where things get exciting. This is where things get oh so much more fun.

There's not as much high octane action in this particular issue, but Soy's artwork is still very engaging even if most of the characters are just having conversations. Soy does incredible work with the facial expressions and body language of the cast that compliments the tone perfectly and remains dynamic with its perspective.

It's a solid book and incredible story that feels like it's going to read much better in trade, but I'm so vested in knowing the outcome that I'm going to keep getting the single issues, which is perhaps the best testament I can give to Hill's writing and Soy's art.

After six issues, I think Batman and the Outsiders has found its footing in earnest. It's made it clear that it's a story that's happening because of Batman, but very much a story about the Outsiders, about a very different kind of heroism and struggle. This first arc has stumbles, but as a whole opens up the mythology in very interesting ways that I'm excited to see unfold in the future.

The“A League of Their Own” doesn't put Batman and the Outsiders in a league of its own, but it does remain a very solid superhero comic that gives its characters ample opportunity to shine. Hill's very good at imparting ethos into the script, and Soy masterfully brings it to life. As the arc races towards its conclusion, you have to wonder what the actual final battle is going to look like with all of the machinations and chess games between Batman and Ra's Al Ghul going on, and I'm ready for it.

As each week brings us closer to wedding bells, Seeley is reveling in the chance to share how the BatCat union is affecting the different members of the Batfamily and at the end of the day, it's just a lot of fun.

Seeley and crew clearly had a blast creating this issue, and you can feel it in your bones. It's a strong start to what will be a rollercoaster of a prelude before the big day.

I think this is the strongest showing of the Prelude to the Wedding so far. Red Hood was at the focal point of the issue, but also had the advantage of having a great supporting cast and a villain who had the clearest ideological connection to Red Hood's relationship with Batman. Anarky was a weird choice to bring in, but he ended up being a crucial part of the formula that made this all work. Seeley and Fernandez played off each other to craft a night to remember.

It's about Harley and Joker addressing their explosive personalities, and the pain they inflict on each. It's about the patterns of abuse. It's about obsession. It's such a twisted, terrifying thought; and a bittersweet, poignant reflection to end on before the big day. Hats off to Seeley for sticking the landing.

There are some interesting questions brought up about both characters' identities, although the big plot doesn't feel like it had enough set up or time to breath before quickly moving to the next plot point. Yet, Seeley's playing the long con and helping Tom King out with this fascinating parallel story telling, so I'm willing to forgive a little bit of pacing hiccups as the wedding bells grow louder.

To reiterate, the reason we keep getting Batman stories is because there never seems to be enough of them. They go in so many different directions and speak to something unabashedly human that we as the reader connect to as we follow along on the panels and pages.

All in all, if you need more Telltale Batman in your life, you really should pick this up. And if you don't know if you do, well, play the game and realize that you do need more.

Like your typical episode, we juggle between the different facets of Bruce. We get to see Bruce Wayne, local billionaire pariah and currently working with the police. We get investigator Batman, strong-arming criminals to find out crucial bits of information that we would be linking together if we were in the typical Telltale interface. We get Batman unmasked, talking candidly with Alfred. And finally, we get action hero Batman with all the quick time events and flashy fight sequences. The dialog is crisp and Ienco continues to perfectly capture the Telltale visual aesthetic.

This issue definitely erred more on the Batman side of the of the narrative and vets of the games probably can deduce what this means for the next issue, but Gage has raised the stakes and it's anyone's guess how deep Bruce Wayne will get into when confronting his past. I'm definitely looking forward to the next issue.

Now, some qualms still apply. The emotional impact of the story is highly contingent on having an emotional investment into the first season of Telltale's Batman. This particular take on the Wayne family is a drastic deviation from accepted cannon and without the full story of Thomas Wayne's "sins" the story won't hit as heard. But for those who went through the game, Sins of the Father continues to be an exemplar side story.

All in all, it's a fun edition to the series, but doesn't have the same charm as its predecessor. It does set the stage for an interesting finale, so hopefully the last issue can tie it all together. I've enjoyed the miniseries thus far and tonally it's a perfect interlude to the two seasons, but I was hoping that the penultimate issue would distinguish past its identity as a tie-in like the second act managed to accomplish.

Ultimately, it looks my initial speculation was right: if you're a fan of the Telltale games and wanted more of that particular tone and story, Sins of the Father will quench that thirst. If you're not a fan of Telltale (don't know why you wouldn't be, though) or want a more impactful Batman storyline, there's a lot of other great starting points you should pursue first.

Opening acts are difficult because being thrown into a new world with new rules can be disoriented. It helps that Nina herself is still quiet disoriented in this strange variant of Los Angeles and there is something relatable about her struggles to self-affirm and discover purpose in a midst of a chaotic, seemingly random world. Humphries and Bartel play brilliantly off each other. I'm excited to see the world through Nina's eyes going forward in this imaginative playground the two have built.

Ultimately, the sophomore issue of Blackbird finds it's groove. The strengths of the first issue were bolstered, resulting in a much more natural pacing that fleshes out of the world(s) of the universe in intriguing ways that make it a must read for urban fantasy fans. Nina's journey to face the magical underworld Cabal is definitely worth keeping an eye on if the gorgeous artwork wasn't enough.

The end of the issue of the is what cements this series as must read though. While avoiding spoilers, all I'll say is that Humphries nails the emotional throughline and the way Bartel brings the story to life is magical. It simplifies and solidifies the series as one of my favorite comics to come out in 2018, and if you were hesitant beforehand, you should see how you're feeling after this one.

And the more that the book embraces its magical mystery, the more I find myself vested in its narrative. It's a lot of visual flare, but the story is a good scaffold.

You are bombarded with eye candy and a carefully constructed narrative that makes you invested in what happens next. If the momentum can continue to carry to the final issue of the arc, Blackbird will demand a spot on your shelves very soon.

Blackbird #6 is the strongest issue of the series to date. It is a wonderful way to capstone the first arc and should make any urban fantasy fan ready to pick it up at their local comic book store.

This was not what I was expecting from a #1, but it's kind of exactly what I needed. A head full immersion into a vibrant new world that utterly captivates me. This is gonna be a series worth watching, and I'm excited to see what the second installment brings.If I get just a little bit more grounding, I'm going to start proselytizing aggressively. Until then, just some light encouragement to put Bleed Them Dry into your pull.

It's an ambitious and engaging story and I love the combined creative efforts of Lewis and Yarsky. Bliss is yet another strong contender out of Image's incredible line up of speculative fiction, and I'll be following this 8-issue series very closely.

Bliss #2 is very much in line with the tone and the narrative arc. It's just a paced a little bit differently, but it's done with a purpose and is effective, and that's what truly matters in the end.

Bliss is a wonderfully tragic allegory. It is a comic that I would gladly add the collected edition to my shelves when it releases. It is a story that uses the lens of this magical drug called Bliss and examine the harsh realities of the human conditions. The decisions we make in the dark. The decisions we make in the light. The consequences of both. Lewis and Yarsky over the past year have deftly created a touching world that ultimately tries to make our world a kinder place, and that is something truly commendable. Once again, Bliss #8 is a great end.

I like the fact that it's unlike anything else that I've ever read. I like the fact that it's grounded, detailed, and gritty. And during a time when I'm a little overeager to race to the end, I like the fact that Bog Bodies encouraged me to slow down and simmer in the fates of the quartet.

This is a strong opening chapter, serving as a tantalizing start to the series. A lot of the more exciting developments occur in the second half of the issue, but it still remains a fun read and another example of excellent horror coming out this year.

Shand and Rodriguez have a brilliant chemistry and all the essential elements: a diverse cast, a poignant premise, and monsters of all varieties. If you're in the mood for more speculative fiction in your pull, make sure you add Breathless.

If you want more Keanu Reeves content in your life, this is it. You can feel Reeves' signature energy bolstered by the rest of the creative team and you can tell that everyone had a blast bringing this larger than life character to life. I'm not overtly enthused about this particular archetype or character (especially since this errs a little more to the violent than introspection side), but with this iteration I am intrigued and I think it's a well-constructed comic that's worth looking into.

As the lines between reality and simulation start to blur in Buckhead, all I can say is that the second issue has a strong foundation to do some really cool things with the Afrofuturist elements, and I'll be along for the playthrough.

Buckhead remains visually captivating and the story is shaping up to be a novel take on classic science fiction elements. I'm very excited to see where Toba, and by extension us the readers, are taken next, because all indications seem to be a wild adventure that spans civilizations and technological revolutions and that just sounds exciting.

Buckhead #3 feels very much like an interstitial issue, where there were lots of connecting components that needed to be stitched together in order to keep the rest of the series reasonably paced, and as a result, we get a very dense middle point. It's still entertaining, but definitely feels a bit rushed at points.

All in all, Buckhead was a tight, if not filled to the brim, mini-series that did a lot of intriguing things with the intersection of video games and mythology. There's a lot to love and the world provided a fun, thrilling jaunt. I would have appreciate maybe just a couple more pages to fully appreciate all of the effort that went into constructing Toba's journey.

Hellmouth #1 is truly the start of something dark, weird, and wonderful. A perfect way to start off October, this portends a lot of very cool things to come in the rebooted universe and promises to leave its own mark in the pop culture landscape.

If you're a fan of the franchise, you owe it to yourself to read Buffy the Last Vampire Slayer. It's a brilliant take on the character, and I'll be on the ride for the rest of the mini-series.

This is the story I never knew I wanted. This is a great example of why professional fanfiction is fantastic. Buffy the Last Vampire Slayer shows what happens when invested creatives get a chance to revisit and reinvent properties they admire in some capacity and get to expand the world in new ways. This is not the Buffy we know, but it is a Buffy that is still familiar and one we want to get to know, and I'm already counting the days till issue #3.

Issue #7 offers insight into the inner workings of the Catalyst Prime universe. It's not a perfect jumping on point, but it's definitely tantalizing enough to make you want to read the rest.

As the Catalyst Prime universe continues to grow, I implore more and more people to delve into the smartly constructed and wonderfully illustrated world. And Accell will often be the first title I recommend.

Astonisher challenges the traditional superhero narrative. The impact of trauma is not skirted around. It's not an afterthought, it's tackled head-on again and again. It is acknowledged and addressed and at the center of Magnus' arc. It's refreshing in its honesty, and I can't recommend it enough.

With any ensemble cast this large, there is a lot of mental tracking that needs to happen. This has always been one of my personal struggles with the book, and I'm thankful how Casey manages to help anchor the story with Bo Vincent Chen. His charismatic demeanor is familiar, but that is one of the recurring charms of Catalyst Prime, the subtle reinvention of classic archetypes. Couple that with the sleek sci-fi styling, you got a fun book on your hands.

That said, I still loved the issue. Layman's writing and Boultwood's art have manifested a different segment of a universe I have loved and as a Chew I definitely recommend it to others, and for the uninitiated… you'll still appreciate the stylized world and the food related shenanigans, but as of now, Chu is best served alongside its predecessors, although time will tell if it becomes a worthy standalone serving.

And I'll acknowledge that maybe this nostalgia warping my memories of Chew, which was a series I got to read in larger chunks. As a standalone story, Chu is clearly cooking out some cool things, but it's also making me wonder if I should wait till it's a complete course.

By the end of the issue, there is a definitive sense that Chu will no longer be this pseudo-prequel to the world and that Saffron has a lot of her own adventures ahead of her. But as this first arc races to its conclusion, I'm really excited to see what happens. The story no longer needs the connection of Tony to let us live in this bizarre world with all of these food based super powers. There was were so many different quirks in the original series and Chu has already established that Layman has so many more in mind, and it genuinely makes me excited. The prep work is nearing its completion, and while I was hesitant about what the main course would look like, I'm happy to say that I'm ready to get back on board.

Chu is fun, but off the strength of its previous issue, the finale doesn't quite endear me in the same, although I will be there when Chu #6 drops.

Chu #6 is the proper introduction to the character. This is the true act 1 for Saffron Chu and her first outing as a free woman is a much easier sell. All of the classic charm you expect from Chew is here, but now we have a brand-new protagonist exploring a drastically different side of the universe. It feels like the creative team has found their stride and is sailing forward with gusto.

The conclusion of Chu #7 launches the story on an entirely out of pocket tangent, and I am patiently waiting for the next installment of the madness. This does not occupy the same niche that Chew once did back in the day. Instead, it takes the food-related powers malarkey and delivers in droves of entertaining moments with its own ambitions that old fans will appreciate, and new fans will be able to latch onto properly. The debt of exposition has been paid, and the dividends are paying off in this arc.

Chu #8 shows Layman and Boultwood in their element, cooking at full steam. If the first three issues of (She) Drunk History are any indication of the caliber of content that is to come, you and I are going to be reading this comic for a very long time to come (and likely going to see an animated adaptation before long). It's energetic and, even though it feels like a fever dream explaining all of the things going on, I'm more than willing to suspend all of my disbelief because it's just fun at the end of the day.

The more time we get to spend with Saffron and ruminate on the vector this series is going in, the more I appreciate it. Whereas her brother's power was integral to every stage of the story, Saffron's personality is the star the show, and Layman and Boultwood perfected the proportions of this comic's recipe. I'm very excited for the prospect of a book three after finishing Chu #10.

If you're a fan of Steve Orlando's body of work, you'll enjoy this latest endeavor for sure. If you're not a fan, I'd recommend giving the first issue a spin and see if you have the tolerance for it. It's an interesting start to a 12 issue mini-series if nothing else.

But while I like the story's style, it's substance leaves a little to be desired from an execution standpoint. I can see the appeal, but there are just a series of decisions that make it an unsteady foundation.

Crossover is such a difficult franchise to evaluate, because the overarching structure demands that it both be all encompassing and all able to stand on its own. There is very clearly a deep love for the comic book medium, yet the paradoxical story feels like it should be approachable to all and this is the third time where I feel slightly alienated by some of the choices made.

It's a solid crossover. It's a fun little one-off and any excuse to let Tomasi flex his skills writing Superboy and Robin is always welcomed. It's a fitting tribute to Dynomutt and Blue Falcon, and it's worth the pick up if you're a fan of any of the characters involved.

This particularly bleak storyline attracts my attention for so many odd reasons. It's the cleverness in the inciting incident. It's the not-quite omniscient narrator given us the play by play. It's the damn near iconic images littered through the issue. It's what out of continuity events were made for and again, I never would have thought to ask for this, but now I want the rest of it immediately.

DCeased is easily one of my favorite things coming out of DC right now, because it's unapologetic in its grand design and vision and makes you just ravenous for what comes next. It's seriously that good.

If you like horror, if you like Elseworld-esque conent, if you like comics even a little, you need to be reading DCeased. This is a extraordinary mini-series that feels like it has come out of nowhere, and I am compelled to share it's dark brilliance.

If you're even a little invested in the DC canon, you owe it to yourself to read DCeased. In four issues, it has already shown a deep understanding of the characters and ideologies of the universe, and I cannot fathom what Taylor has in store for the conclusion and that's incredibly exciting.

DCeased is so good. It's heartbreaking and even it's most optimistic moments, dark as fuck. But it's such an engaging comic. It's such a unique comic. It has taken the superhero and zombie frameworks and welded them together to create an entirely different monstrosity that I really hope you're reading. Or barring that, I really hope you buy the trade because this one is going to be remembered as a seminal work in a few years, mark my words. I don't think I'm ready for the conclusion next issue, but I am waiting with baited breath.

All in all, the conclusion to DCeased is fitting. The joint efforts of Taylor, Hairsine, Edwards, and Guadiano produced a riveting conclusion to the “not-a-zombie” epic, although it didn't quite reach the same emotional highs of the preceding issues, and the comedy doesn't connect in the same way. However, it's still provided a satisfying capstone to the series, while leaving enough doors open for more exploration if Taylor decides to mess with our hearts again. I'm almost certain he will.

I can not oversell how good this book actually is. DCeased: A Good Day to Die #1 distinguishes itself from its parent series with a widely different cast and intended narrative goals. Taylor has crafted a wonderful sandbox that the artists use to full effect, and the end product is one of the finest stories you could be reading right now. Don't sleep on DCeased or DCeased: A Good Day to Die. They really are too good to pass up.

DCeased: Unkillables #1 does not immediately grab me like the original did, but as a fan of Taylor's Elseworld I'm still very much invested in the different story lines he has set up. The world itself is fascinating and getting this unexpected expansion of scope is worth the investment in my eyes.

I think where the #1 falters for me is that there is so much innuendo about what happened that, as a new reader to the series, I don't understand the context and why everything is shrouded in shadows, and it's not as readily apparent that this is a follow up series from the get. But, to its credit, Jordan and Tiesma did create an engaging sandbox that does seem to work as a standalone, but only time will tell if that is truly the case.

With the next issue on the horizon, this is the time to order those back issues and get caught up, so you can read the conclusion live. Remender and Bengal crafted something special and you're gonna wanna see it to the bitter end.

Remender's writing is ripe with sentimentality and self-reflection. As the final action sequences fades and I close the pages of the last Death or Glory comic I'll read (at least for the foreseeable future), I feel… content. I feel satisfied like a good homecooked meal. I feel like the adventure and the story all amounted to something and that I'm glad I got to be along for the ride and in the end isn't that what we hope out of every comic? Isn't it rare that we get an ending fitting of the adventure that it took to get there? Death or Glory is a fitting tale for our times and one that I'll gladly recommend time and time again, so if you've been along in the passenger seat with Glory since 2018, you definitely owe it to yourself to see it through. And if you're new… well, start at the beginning and get ready for a wild ride.

Decorum #1 does exactly what a number one is supposed to do: intrigue the reader, capture the imagination, and make you want to know more even if the premise doesn't quite match up with your usual expectations. But Hickman and Huddleston masterfully construct a world with enough familiar elements to make you comfortable and enough new embellishments that form a vice grip around your brain, making you wonder: where exactly is this gonna go next?

Decorum #2 escalates every expectation I had about the series. What had been intriguing beforehand has now become one of my favorite comics that fascinates me as both a reader and a critic. From a storytelling perspective, it is an ambitious as hell story. From a technical perspective, I haven't seen anything quite like it before. It's hard to find something new under the sun, but I guess Hickman found a way around that by reinventing the sun.

There is something special here, something that reaches and grasps you. Decorum is very clearly an ambitious series, both in its wide storytelling scope but also it in the fact that it is able to dedicate an issue to more conventional narrative beats and still feel like there are a dozen more worlds and stories that Hickman and Huddleston are just waiting to reveal.

I'm sure other creative teams could have gotten me this excited over reading a multiyear syllabus, but right now, Decorum holds the title for most engaging assassin school montage across all of media for me at least. It is tour de force of sensory delights and should definitely be on your radar if it's not already.

Decorum is a consistently strong series that does so many cool things. This is a story that constantly draws me back to it each and every month, because there's always a new wrinkle in the fabric that makes it that much more dynamic. There's always a new way that the creative team manages to make me drop my jaw. Imogen and Neha are great leads, and I continue to be excited to follow them across the universe.

If you've been reading Batman or Nightwing " or any Batfamily title really " but still finding yourself needing more, Detective Comics is a great entryway. It's a dark jaunt that encapsulates all of the best parts of the thriller aspects of the characters and still retains the relentless optimism that draws most us to superhero stories.

Detective Comics #983 gets your heart bumping. The action is thrilling, and the dramatic scenes really hit home. Hill does an incredible job at setting up the rest of the arc, and builds a wonderful stage for Wayne, Pierce, Duke Thomas, and Cassandra Cain to fight the latest madman in Gotham. It's a story you're not going to want to miss.

Conversing the momentum of such an ambitious arc is difficult, but the creative team is more than up to the challenge. The narrative is engaging, the artwork is breathtaking, and the promises it makes are just tantalizing. You're gonna want in on this.

Detective Comics #985 is a much needed moment of introspection for the arc. Mind you, this is the Hill Administration here. ‘Slower' is a relative term, and there are still plenty of wonderfully drawn action and jaw-dropping moments that'll keep your eyes glued to the page. At the midway point of the arc, Hill allows us to steep in the emotional intensity of the situation. He gives us a peek into the premeditated, rather than the reactionary. It's a wonderful shift in gears and Detective Comics remains mandatory reading for Bat-fans.

After shifting gears last issue, we are back at full speed, no breaks. The Hill Administration knows how to get the people going, and the epic conclusion is going to be one for the ages. My only complaint is that we are so close to the end and I just want to spend more time with Black Lightning in Gotham acting as a substitute teacher for Duke Thomas and Cassandra Cain with disgruntled TA Barbara Gordan while Batman is working some stuff out. It's a summer blockbuster within a neat 20 pages that I highly recommend.

It such a good time to be a Batman fan! There is some incredible creative talent working with the character, and if you're not keen to Hill, you should be. His On the Outside is a well-paced and conceived story that sets up so many cool things for the future. I can't wait!

All in all, the issue is fine. It tells a neat, self-contained story which adds a little more texture to Batman which we may or may not have needed. The idea of 'no simple murders in Gotham City' makes perfect sense, and Robinson executes the concept enjoyably. Segovia's art is on point, but unlike the large cast leveraged in On the Outside or even the last self-contained story way back in #982 (which went full-on psychological horror), Deface the Face doesn't feel like it has that same hook beyond being a Batman story. Sometimes, that's enough.

If there is any saving grace of the issue, it is Segovia's artwork. The costume work and atmosphere is the only strength really maintained throughout this mini-arc. I enjoy the dynamic action shots and the lighting. Honestly, this was the first time in a long while where at the end of a Batman issue I was disinterested in what came next. Hopefully, the conclusion can salvage some of the notes that made #988 entertaining, but I am not an optimistic reader this time around.

Deface the Face suffers from trying to cover a lot of ground. Its solution to a lot of the narrative questions is to throw most stuff into the mix and see if it works. Ultimately, this approach leaves it a bit muddied in its intent and execution.

This latest arc continues to drag. While we started off with some brisk pacing, the slower pacing to allow for exposition of a convoluted plot and half-thought philosophical musings don't really live up to the murder mystery we were promised inDeface the Face. The quips have fallen flat, and this one's only gonna be for the most dedicated Batman fans.

Or perhaps it's all the side comments: The "You know this or that" supposed winks to the camera and the repetitive construction of information. It feels like Robinson is so convinced that we haven't retained any memory of what happened in the current arc or the arcs before it. It gets tiresome. Much like the arc itself.

The few lines that resonate are few and far between and Deface the Face lacks the same change up and unique insights into the World's Second Greatest Detective. It's a perfectly serviceable Batman story, but it's nothing more than that unfortunately.

It's hard to predict the exact direction this latest arc will take given how hard it pivoted in the back half of the issue. There are a lot of interesting seeds and while it's hard to see how they're going to connect, I'm 100% ready to see Batman persevere against the strange confluence of conditions. Tomasi's writing and Mahnke's artwork combine to create quite the opener to this latest arc, and it's going to be one hell of a ride to #1000.

The build up to the #1000 milestone is drumming up to be a fascinating case study on Gotham's effects on mental health with a multilayered mystery bubbling below the surface. Right now, Tomasi still seems to be in the process of getting all of the pieces in place, but as a long-time fan I'm excited to see his exploration of Batman's duality.

The Mythology arc truly lives up to its name. There are a lot of deified entities in play that encompass different aspects of a complex universe and some take a little more to process than others. Detective Comics #996 drinks deep from the well of Batman knowledge, and I think it's okay if you're overwhelmed given how Bats is probably feeling right now.

The Mythologies arc hones into the grand scale of Batman. This is a study of his symbology, how his various origin stories shaped him and how he shaped Gotham City and the world at large. It's fitting as we countdown to the milestone, if not a little disorienting by the sheer scope that is modern Batman.

The Mythologies arc has been a fun exploration of Batman. The ever-changing nature of the through-line has taken us to a lot of weird places, and while I'm still waiting for satisfactory answers, I'm enjoying the ride.

All in all, Detective Comics #999 did its many jobs perfectly. It closed out a difficult arc and set everything up for the milestone we'll be receiving soon.

The majority of the issue focuses on Batman doing some investigating work after bats all around Gotham mysteriously end up dead, from the public parks to the colonies inhabiting the Batcave. Batman gets to show off his research, interpersonal, and combat skills, and it's a fun narrative of intrigue, even if it does take a minute for everything to truly spin up. Walker does a fantastic job illustrating the issue, between the bat vivisections, medieval outfits, and Gotham's urban centers and parks. Walker is definitely at his strongest when he gets to portray dynamic action sequences with contrails out of the moving entities to give it that extra oomph.

It looks like a thousand-some-odd issues hasn't slowed any one down, and I find myself becoming more and more invested in what Tomasi's plans are for the Arkham Knight, and in turn the Arkham Knight's plans for the Dark Knight.

With almost all of the set up taken care of, the true test of“Medieval” is going to lie with its next installments. Tomasi and Walker have created a solid foundation and tinkered with time tested tropes to create an intriguing core conflict. Having Damian at the center of all the commotion helps distinguish the story, but the story hasn't caught fire just yet. Although, knowing this creative team, I'll be eating my words in a couple weeks.

Detective Comics #1004 is my favorite issue of “Medieval” to date. Walker's artwork sells Tomasi's narrative of the tragic origins of Astrid, and the end result builds up to a wonderful crescendo.

Tomasi's first post-1000 arc of Detective Comics continues to show that the reason authors gravitate towards Batman, and why we have dozens of stories with him at the center, is because there is simply so much territory that can be covered and presented in unique ways. Batman is an embodiment of human determination, and Tomasi captures both the relentlessness of the character and his deep-seated love for his city. “Medieval,” while not perfect, started laying the groundwork for some very exciting things to come, and I'm ecstatic to see where Detective Comics will go to next.

With the start of the new arc, we have to reset our expectations and get used to the change of gears.“There Will Be Blood” is a ominous sign to come and there are still so many questions that we need answers to, but it sets the stage for a different type of story than the last few arcs, and that is definitely something worth looking forward to.

It's a short story in the grand scheme of Batman, but it was a dynamic showcase that continued to highlight the versatility of storytelling that's possible when it comes to Batman. Tomasi and Hotz concludes Batman's team up with the Spectre in a bombastic fashion in two simple issues that just leaves me excited to see what the next long arc has in store.

Detective Comics #1008 is filler. It's a perfectly passable story that followed yet another filler sequence before the main “Year of the Villain” storyline. There are a couple panels that resonate, but for the most part it's kind of forgettable.

It's hard to be invested when it feels like half the story isn't on the page and another story is percolating way in the back. Detective Comics #1009 fares a little better than its immediate predecessor because some of the quips hit a little harder and the artwork feels a bit more lively. I keep hoping for a meaty arc like Medieval for Tomasi and this issue just feels like a small appetizer.

The Brave and the Old is a more interesting that Detective Comics #1009. Now that the set-up is fully under way, both Tomasi and Duce manage to do more interesting things from a narrative and visual perspective, rather than the drag of corporate talk and characters standing around waiting for other characters. Yet, it still feels like a filler episode rather than an engaging arc in its own right. It certainly doesn't help to have Mr. Freeze constantly leering over the cover and his actions a constant coda, but we'll see how it all comes together.

When it's all said and done, I'm ready for something more substantial from Tomasi's Detective Comics. I'm ready for that sweeping five-seven issue arc where Batman faces a villain that he's not able to beat with stuff he found out of an old fighter jet. I'm ready for more interactions with Robin. I'm ready for Mr. Freeze to enter the fray, and I hope it's as chilling as the codas portend.

However, the issue as a whole feels so out of place and so oddly pace. Tomasi's best work comes with the development of his protagonist and villain over time, as we've seen in the “Mythologies” and “Medieval” arcs. This condensed version of storytelling works, but mostly makes me excited for the continuation of the main story.

Die Demands to Be ReadDie #1 is a tribute and subversion of childhood fantasy, of the games we played when we didn't fully understand the rules. Gillen and Hans are a dynamic duo that have created an alarmingly alluring world of horror and fantasy and I'm so excited to add this to my pull list.

Die is not slowing down. If you didn't read last issue, please start 2019 right and start reading the single issues. Once you get started, you're not going to be able to wait for the single issues. Whether you're a fan of Dungeons & Dragons or not, this is a top tier fantasy comic that should be on everyone's radar.

Die has changed the game and I'm not one to give out perfect scores so readily, but if I had to read one comic for the rest of eternity" I think I'm thanking Gillen and Hans for what is shaping up to be one of my favorite stories ever.

You pair all of the above with Hans's gorgeous artwork, of course you're going to get a critical success. It's hard to extol Hans's enchantingly haunting artwork, that is evocative of all of the famous fantasy stories, while having a uniquely modern flair that is absolutely engaging. If you're not reading Die already, I'm telling you it's not too late to start. This is a standout title that demands to be read, and I may like Ash's Dictator Voice, but I need more folks to be experiencing the majesty of this series.

Die is Bast-damn near a perfect comic. With the conclusion of its first arc, you have absolutely no reason not to dive deep into the story. The stakes start out high and only continue to escalate, and the end result is a tour-de-force of comic book goodness. I cannot wait for the start of the next issue and the pending release of the Die RPG rulebook later this summer. So please, read this book and share in the joy and grief, the brilliant words and visuals, and the childhood idealism and adult cynicism. It's unlike anything else you've read.

As Angela recounts her "real world" life to her mechanical companion a.k.a. robo-dog a.k.a. Case, we get a brief glimpse into the horrors of game dev crunch and a reminder than human relationships are just so incredibly complicated even without the ability to manipulate reality in a pocket dimension. Gillen masterfully tantalizes the reader with these parallel constructions of difficult choices for Angela that force us to examine our own internal process and the somewhat nature of life. It's bold and moderately frightening on a deeply personal level. And that doesn't even cover what happens at the back half of the issue.

I keep gushing about Die every month because it provides a fix that only it can provide. There's no other piece of media, let alone comic, that's able to synthesize elements of horror, fantasy, and psychological thriller is such a succinct and poignant manner. Every new issue of Die provides another chance for Gillen and Hans to showcase their adeptness at creating this enthralling world of monsters and magic, and every issue they knock it out of the park. This is as close to a perfect run of a comic in 2019, and if any of the listed genres interest, you need to read this series immediately. It's unrelenting in how phenomenal it is.

Die is vying for the top spot of comics in 2019, and as the track record shows, I'm very inclined just to give it the title. Every issue manages to show a different facet of reality and every issue retains such a high quality narrative and visual, you'd be denying yourself a great joy reading it. Although, maybe that's the type of Knight you are.

Tabletop aficionados, horror fans, fantasy fanatics, comic connoisseurs, even literary buffs all have ample reason to be reading Die. This is an impressively crafted series that continually aims to one up itself in its execution and Gillen and Hans are more successful in escalating the stakes on every level. Buy the single issues. Buy physical. Buy digital. Buy the collected. But please, don't wait to immerse yourself in this world.

Die #11 looks incredible, reads incredibly, and is probably my favorite single issue of a lot of various units of times that have blurred together over the last few months. This is a comic that demands to be read immediately and rewards you for your investment fourfold.

Gillen has masterfully constructed this elaborate world with elaborate rules, and Hans has illustrated one of the finest comics of the last two years that evokes all of the classical fantasy tropes and has managed to repurpose and reinvent to tell this sprawling tale of games and literary allusion.

This series continues to be a perfect encapsulation of all of the things I love about roleplaying games and comics. Gillen and Hans are like two gamemasters recounting an epic campaign in the most dramatic fashion and I am ecstatic to be able to partake in the retelling every month.

Die is that rare breed of book that continues to illicit an audible gasp out of me each and every issue, if not only for the grand epic moments of revelations, but for the quite human moments of self-reflections. It's a book that every veteran and aspiring roleplayer should read because it's the culmination of a mature love for the genre that only continues to get better with time.

I have been lauding this series for two years, and I anticipated that praise to continue. Die is the pinnacle of comics, of mixed media, of text elevating visuals and visual elevating text. It is a careful constructed work of art that contains all of these beautifully haunting moments, and each page is an invitation to turn, each issue is an invitation to wait for the next, and each arc is a silent threat of “oh, there is still more to come,” and I cannot wait.

Die is coming to an end, and all of the signs point to it being a spectacularly devastating finish. And if I were to say that I'm ready, I'd be lying. But what I can say truthfully under the Dictator's command, is that I'm so excited to see what Gillen and Hans have in store for us.

Past the opening conversation though, Die #17 continued on its grim way in elaborating on the twisted mechanics of the world and setting into motion an emotional roller-coaster as we barrel to the end. The party has been through so much and there are still so many things that are uncertain about how their mission will turn and their ultimate survival. We have come to care for Ash, Chuck, Matt, Angela, and Isabelle, and maybe even garnered just a little sympathy for the Fallen Sol, but we also understand all of their flaws and the cracks in their facades, the dissonance in their true selves, and the personas they have been forced to don to survive the hellscape. As their actions continue to have compounding consequences and their circumstances grow more dire and existentially exhausting, Gillen continues to weave this brilliantly dark narrative that demands to be finished.

Die's final arc remains a magnificent thesis and reflection on all of the moments that came before. It's an exhilarating examination of why we play games and why we make the decisions that we do. The crafting of the self and the character we present to the world. To see that Die only has two issues left is to see the end of one of the greatest TTRPGs campaigns come to a close, and I'm ready insofar as I'm ready to be emotionally devastated by what it sure to come.

Die #19 is preparing us and the party for the end. You still have plenty of time to get current and read one of the greatest pieces of speculative fiction, maybe ever, just in time to witness the finale. I'm not going to stop thinking about it until it gets here. Die #19 left that imprint on my brain. A lingering command. An echo that refuses to be silent.

Die is at its end, but it's also a beginning because of course that's how campaigns work. The game lingers, the personas we crafted and cultivated don't quite leave us. We discovered things about ourselves and make new moves because of it. Die #20 signals the end of an era, and I want everyone to experience this story for themselves. It has been one of the best journeys I've been on in a while.

It's a fun first issue through and through, and I'm interested to see what we'll see on the first page of the second issue. Gailey, Bak, Titov, and Rae have a very cohesive project that hits all the right notes to keep my curiosity in this horror series piqued.

Eight Billion Genies #1 is a refreshingly vibrant first issue that dives headfirst into its conceit and just presses the gas pedal as hard as possible. Soule's quick wit and writing paired with the surrealistic art from Browne work wonderfully in concert for this wild premise, and I'll be following very closely to see what happens in the next issue/eight hours next month.

Eternity Girl #1 is a dense story. It's a beautifully realized story, but one that requires precise reading and a willingness to be led along the narrative arc. The exposition occurs in intermittent bursts, and it's a dark tale in more ways than one. It very much exists in conversation with the other Young Animal titles, so if you've enjoyed any of them, you'll be at home. Individual panels and pages left me absolutely floored but when I was finished reading, I was left wanting. Perhaps given the context, that is an appropriate reaction. We'll see what happens in #2.

It's hard to predict where exactly the journey will end, but I'm now completely ready for stuff to get even weirder.

It feels weird to say that Eternity Girl, the comic, keeps getting better and better, while Eternity Girl, the character continues to spiral down. The continual descent and multiple storylines read significantly better as the stakes are raised and the pacing gets faster.

This is one of the finest examples of the comic craft that I think you could read. There is so much to love and so much to appreciate in this issue and makes me even more exciting for the last act.

When I think back to where we started, I didn't imagine this is where we'd be ending up. I couldn't fathom the intricacies that have slowly unfurled. But now that we are at the penultimate issue, I'm going to once again request that you go out of your way and buy the back issues for the series so you can be ready for the finale.

Eternity Girl demands to be read. It is thought provoking and deeply personal. If you've read any of the prior issues, you deserve to read the conclusion immediately. If you haven't read any yet, keep it on the radar. Visaggio and Liew are a force to be reckoned with, and the final issue is proof of that.

I liked the first issue of Eve, and I appreciate the general Afrofuturist vibes and the charm of the main character. I think there are a couple more anchoring details that I would have appreciated to fully vest me into the story, but given that this is a 5-issue mini-series, I'm willing to stick around and see the contextualization that the second issue will provide. Eve has a lovable protagonist in a prescient piece of work, and it's going to be an interesting venture for sure.

Excellence is back and while I still have a million questions that I want answers for, I'm happy to be along with the ride. This is a great blend of familiar fantasy tropes presented in a new light, and this is the type of issue that gets you excited that comics are coming back to the market.

There's a part of me that knows that I'd appreciate Excellence even more in completed editions, that the continuity of the story would be easier to track in larger bursts. But the fact remains that ever since I started reading the single issues, it's become clear that my curiosity far outweighs my patience. I need to know what happens next as quickly as possible (within a week or so).

We're in the back half of Excellence's second arc and all signs points that it will continue to be"well excellent. Thomas and Randolph have crafted and curated such a thrilling world, and watching Spencer grow into his own has been a gift.

All in all, if you're in the market for some niche, devil-centric, comic erotica, Faithless II #1 very much fits the bill. It is beautifully executed, unburdened from having to get all of the characters in position, and able to captivate more readily and easily between the beautiful artwork and solid text.

Faithless II feels like it a has a clearer direction and I'm personally excited to see where Azzarello takes us and Faith on this twisted journey. The aura of mystery has intensified, and it feels like every new issue is a bold step into some much darker.

In many ways, Finger Guns reminds of me a teenage appropriate version of Sex Criminals: two protagonists with unique supernatural powers find each other and learn how to navigate their unique capabilities and the realities of life, and that's genuinely exciting. Richards and Halvorson have a solid foundation with the first issue, and I'm excited to see how the world will evolve in the coming months.

I don't know if I feel compelled to read about the escapades that happened in 1-24, but I am very much intrigued by the future and everything that will come to pass in the present.

There is a fair amount of time establishing the new status quo and new crew dynamics so as far as a larger, overarching plot, we only got a couple threads here and there, but the energy feels right and that's truly the most important thing.

Folklords is both an homage and a reconstruction of the fantasy genre. It will feel familiar at moments before it distinguishes itself from its roots and inspiration. The writing is poignant, the art is enchanting, and I'm really excited to see where the future chapters will take us.

There are a couple fun facets of Getting Dizzy and I think it's gonna be a perfect fit for its intended audience. Fontana and Moscote have created a neat sandbox that I'm sure will be a great foundation in the remaining three issues of the mini-series.

Getting Dizzy #2 is beginning to gain momentum. The characters are solid and there's enough hints that there are some fun homages and subversions on the horizon. I'm excited to see what happens with the remaining issues and what shenanigans and growth will happen for everyone involved.

Getting Dizzy has been gaining momentum throughout its run, and I am looking forward to its conclusion. Fontana and Moscote have tinkered with familiar tropes and have crafted a comic that will resonate with the audience, and I'm certain they'll cross the finish line in proper form next issue.

While the series still has some wobbles here and there, the complete collection makes for a great read, and the story and themes will be appreciated by the target audience in full. This is the perfect story to get teenage readers into comics and also general nerdy things by association. It has that exact type of bubblegum pop energy that puts a smile on your face when you're done, and it's worth checking out. I hope that Fontana and Moscote get to spend more time in the universe in the future.

Lemire and Sorrentino have struck gold. While this story won't appeal to everyone, those who like dark speculative fiction will quickly find home within the brilliantly dark tale of faith and you'll definitely want to be caught up when #2 drops in April.

Gideon Falls is quickly becoming a must-read, and this is coming from someone who usually doesn't love horror. The slow burn of the central mystery is allowing for some fascinating character studies and truly haunting moments.

Gideon Falls is slowly piecing itself together as one of the greatest horror mysteries of the decade thanks to the combined efforts of a staggeringly magnificent creative team, and I cannot laud the series enough.

There is a sense of dread and fear that exist within the pages that I haven't experienced in some while and that anxiety only makes me more excited for the next year.

As we near the end of the first arc, Gideon Falls reminds us that we are always grasping for an understanding in a chaotic world where senseless things happen. It reminds us of loneliness, of desperately wanting someone to understand what we are experiencing and the internalized dread we carry. Lemire and Sorrentino just decided to give it an actual form and name in the form of the Black Barn. My god, if all of this isn't making a horror fan out of me.

And let me reiterate once again, Sorrentino's artwork paired with Stewart's colors is one of the visually most stimulating and stressful experiences I have reading comics, and I absolutely adore the direction and general aesthetic. This recurring visual mechanic has done so much work over the last few months and still causes heart palpitations. It's wonderful.

It is entirely unsurprisingly that Gideon Falls was optioned for a TV series. It is a brilliantly constructed story that engrosses the reader with its clever writing and awe-inspiring art. This is a title you're definitely going to want in your pull list.

There is nothing quite like this comic on the market. The magnificent slow burn of the narrative compounded with the riveting art creates a stunning horror story and if you're a fan of your heart racing, I really must implore you to read this series immediately.

The second arc of Gideon Falls continues to be strong and if you're a horror fan, and maybe if you're not, this is a book you want in your pull.

A standout horror story with an incredibly talented creative, Gideon Falls is still running strong as we enter into 2019. Lemire and Sorrentino's history of collaboration is on full display with every page that slowly sheds light on the past, present, and inevitable future of the cast of the series.

The finale to the second major arc of Gideon Falls continues to cement the series as one of the best ongoing on the market. Horror fans, and comic fans in general, owe it to themselves to start reading it immediately. The stakes keep rising, and the talent has so much they want to show off.

Gideon Falls started with the compelling premise of a haunted location known ominously as the Black Barn, and as we learn more about the terrifying reach it and its envoys have, it's hard not devour each monthly issue. Gideon Falls #12 is a frightening standalone issue that when viewed within in the larger context, makes for some fantastic fiction and a must read for 2019.

It's never to late too jump aboard a fantastic series, and Gideon Falls is one such series. A masterclass of blending different horror elements alongside magnificent writing and art, Gideon Falls has only become a more engrossing read with each and every issue.

Knowing the history behind Gideon Falls has been an illuminating experience, yet it still feels like we're ignorant of all of the difficulties to come. But there's no doubt that in mind that Gideon Falls is one of the best stories on the shelves and horror fans will be remiss not to be consuming the narrative immediately.

I'm very interested in seeing how the next issue unfolds as we return to Norton Sinclair's perspective. The return to the main plot is geared more towards reintegrating us to the "real" Gideon Falls, and while it lacks the same shock and awe as the mini-arc preceding it, Gideon Falls #15 is still a great portend for all the great storytelling to come.

After a slightly slower start in the last issue, Gideon Falls #16 picks up the slack and speeds up the pace. As more and more of the world comes into view, the potential directions the story could take continue to grow in unpredictable, yet satisfying ways. Where Gideon Falls #16 currently is seems so far removed from where the story began, but the slow drip of information regarding the Black Barn has been entrancing and transformative. Lemire and Sorrentino are ambitious in their scope and have crafted an absolutely stellar experience for a comic reader that can be appreciated in single issues or collected volume, but let me tell you: you're going to want to be reading this story live because it's just that good.

“The Pentoculus” arc is off to a wonderful start and with the recent release of the third paperback, you have less and less reason not to jump on board one of the best on-going series on the market right now.

Gideon Falls #18 follows up a very strong issue perfectly. The intrigue and intensity increase every page, and I'm more invested in the outcome of this story that any other series currently on the shelves at the moment.

I really wish we could have seen the concluding issues of Gideon Falls‘ latest arc before the end of the year, but now I'm really hoping the timeline doesn't fray too much so I can go into 2020 looking forward to parts 4 & 5. Lemire, Sorrentino, Stewart, and Wands have crafted a fascinating book and the fruits of their labor are plenty and apparent. If you're not reading this in single issues, you may want to reconsider it and definitely want to plan on buying the trade. This is a tour de force of horror executed brilliantly, and leaves you… starving for more.

Gideon Falls has been constantly evolving with each new arc and what initially intrigued me because of my ever-present Catholic guilt now fascinates me by being this multi-genre speculative fiction celebration of all things surreal and horrific. Everything continues to fall in place and this particular issue maybe isn't the best time to jump in, but this review should serve as a reminder that Gideon Falls is out here doing all of the work.

This is the type of story that fans of the giant robot genre will adore without equivocation and for everyone, it's gonna make them fans of the genre. This is a fantastic opening to what I hope will become a very longing running series.

Good Luck #1 has an incredibly promising start with an oddball compelling concept that, I am hoping now that it has been established by the creative team, can more efficiently take us through an adventure in this weird world.

I like Good Luck, but it's also a series that demands a little more attention and patience. This second issues suffers from trying to smooth over some leftover details from last issue, and I'm hoping that the next issue can dial back on the worldbuilding and let the stellar elements and dynamics of the core Unfortunates team take center stage.

If this momentum carries forward, Good Luck is going to catapult itself to the top of my pull list. This is exactly the type of pay off one hopes for in a high concept sci-fi series, and I'm glad I stuck around to roll triple 7s on the proverbial slot machine.

While not the strongest first issue ever, Grim #1 is still a gripping first issue with a unique visual flair and tight writing. Grim's familiarity works in its favor and innovative in its presentation. I'll be sticking around for the next issue for sure.

Haphaven is a story about superstition, but it's also a story about family. More specifically, it's a tale about the reasons why we give power to superstition and the traditions they embody. It's a fun read and great introductory graphic novel with a compelling hook and look that makes it s a safe bet for purchase when it comes out March 6th.

Houser, Melo, Morales, Hi-Fi, and Downie get all the props for giving this duo the unapologetic, happy shine they deserve.

This is going to be a difficult series to read. It's delved into some pretty dark subject matter already, and future installments will continue even deeper in this 9-issue run. At its core King asks us to remember that our heroes are still human, that we are still human. That we're all just trying to get better, and that it's okay to ask for help. I have no idea what's going to happen next, but I can't wait to see the story unfold.

In a timeline with a harrowing 24-hour news cycle, Heroes in Crisis #2 is an exhausting read that reminds us that we are all struggling. It is a series that shows us that no matter how powerful you are, how powerful the world perceives you, you are still vulnerable. You are still human, and there's something intriguing in that meditation.

Heroes in Crisis #3 takes us a few hours before the start of the series proper and fleshes out this secretive bit of the world. It's an interesting element of DC mythos that I am captivated by and while I understand the misgivings some will have about the sheer bleakness of the series. There is something appealing about the humanity King is trying to uncover, and I remain here for it.

Heroes in Crisis #4 marks the start of the second act of the series. King has made a series of creative choices that takes the narrative in slightly different directions than I keep trying to anticipate, but it remains an absolutely captivating read. I don't think it's exactly what we were promised when the first allusions to Sanctuary started popping out, but by that same virtue, I don't think Sanctuary was exactly what our heroes were expecting either. I'll be waiting with bated breath for #5 in any case.

All that said, I still think Heroes in Crisis #5 is worth reading. I still think the character work is top notch, and while the collection's strengths will hinge on future installments, the scenes are more than captivating for me to forget everything else going in the world for just a moment and that's something.

We're in end game territory, and it doesn't feel like we're any closer to a satisfying conclusion. Heroes in Crisis #6glimpses into a different book of interviews that I much rather be reading than this murder mystery plot that has been inconsistent in its delivery. I love King, but I need a bit more certainty and cohesion to carry this whodunit this far in.

As the antepenultimate issue of the series, Heroes in Crisis #7 remains an event that I appreciate more for the trees than the forest. And I'm more curious than anything to see how the end unfolds.

All in all, I think Heroes in Crisis #8 anchors the story in a necessary way. It's hard to predict where the series as a whole will fall, but as a lead in to the final culmination, at the very least it's grabbed my heart and my interest.

I can't help but think, what if the series didn't meander for nine issues or if the series' selling point wasn't a murder mystery? To like a story for its pieces is not the same as liking it as a whole, and I keep thinking about the fact there were sparks that fully demanded my attention and their long, long stretches of time where I was largely indifferent. Ultimately, Heroes in Crisis simply exists, and I find myself thinking about interludes more than anything else.

And all of that just technically happens in the prelude. I haven't even talked about Mateo, the other principle character, who helps get the story started off proper, and I'm not really going to because I want y'all to find out more about him on your own. This is a story that immediately grapples your attention and there are lots of fascinating threads and themes, and I really cannot recommend this enough. This is one of the coolest starts to a sci-fi story I've read in a minute, and this should be a must add to your pull for a wide gamut of fans.

We don't get the inklings of the book's superhero until the very end of the issue, which is fair given the limited series' five issue run time. But you very much feel drawn into the story, and the added wrinkle in the last act will definitely hook you.

Home is shaping up to be a story that will read brilliantly as a collection, but the single issues are solid additions to your pull. Anata and Wieszcyzk have put a lot of care into the characters and the story, and you can feel the passion they have to bring this modern generation superhero immigrant story to the page.

Anta and Wieszcyzk are ambitious in their approach. I think the story could have maybe used one more issue to let some of the denser moments in the series play out a little more naturally, but I am still very much invested in Juan's story and how it plays into the greater context. Home remains a great modern twist on the framework that Superman and others have laid out before, and even when it falters, it's still a great read.

All in all, the finale to Home is a fitting end to the series and made me hopeful that Anta and Wieszczyk get a chance to tell another chapter of Juan's story, but even if they don't, they left us with a very excellent comic here.

The protagonist Ami is a very strong lead, and given how the creative team has positioned the story, I am very excited to read future issues which is the goal of every pilot. There is a strong visual aesthetic matched by enthralling writing that leverages horror convention and trope to great effect and I'm excited to see where the story goes in the future. This is definitely one to be paying attention to and potentially a sleeper hit to cap off 2020.

While this comic will be most appreciated by avid fans, this issue will serve as a gateway for newer ones as well who can easily become invested in Aaron's story and want to see more of him. The creative team has constructed a familiar, yet novel sandbox and I look forward to seeing what happens in the coming issues.

I want more. I want the rest of the mini-series to be out already. House of Slaughter is shaping up to be a stellar contribution to the mainline series and an equally stellar stand-alone entity that tells the enthralling tale of Jace and Aaron. I am 100% onboard and ready for the next chapter.

House of Slaughter #3 is succeeding where all prequel series should and fleshes out the universe beautifully. It manages to be engaging on the merit of its own premise and character. And it shows us something new and unexpected that we could not get from the parent title. Brombal and Shehan are doing a fantastic job telling the tale of Aaron and Jace, and the next issue can't get here fast enough.

Maybury and Tierney have essentially provided a textbook on phenomenal worldbuilding and showcased their universe and the talents of their extensive creative team. Hunters gives us diversity on and off the page and showcases the nature of storied fables. While the drastic shifting in tone don't always work out, Hunters as a cohesive collection is a cleverly crafted concoction. It is a dense work that rewards the reader and harkens back to olden days, where forces of natures were gods and heroes were merely humans going up against a world seemingly stacked against them. It is a truly ambitious work of fiction that is as unrelentless as the hunters whose stories it tells.

I Walk With Monsters #1 came out a month ago, and I am incredibly thankful that I managed to find the time to catch up with the series as #2 is coming out today (12/30). This is going to be a wild ride, and I'm excited to see how Cornell and Cantirino answer all of the questions about the predicament that Jacey and David find themselves in.

I want to see more of this wild anthology because I am stunned by what I just witnessed.

The Morphometasis takes a simple concept and does manages to achieve so much within the confines of the pages. This is an expertly crafted book, and you're able to pick this comic up and be emotionally devastated without any prior investment. It's a steal really.

Every time I pick up an issue of Ice Cream Man, I garner more and more appreciation for the anthology. I have come to love the loosely connected tales like episodes of The Twilight Zone, and the ability to revel in a weird world and have a small bout of existentialism on a Wednesday. It's oddly comforting in a way, to be confronted with your own mortality and sense of self.

Infinity 8 succeeds in the same arenas as its predecessors. There is a strong central mystery set in the backdrop of a vibrant, colorful world of aliens, and a human protagonist for the reader to latch onto. If adult themed pulp science fiction is up your alley, consider picking it up. There's definitely a lot to love in this niche.

It takes a while for Inkblot to build momentum, but once the actual inkblot shows up, it's a chaotic run to the end and reminds me of Pagemaster, a movie you may or may not remember, but I adore as someone who loved and loves libraries. Inkblot's a good starter fantasy and one with some stunning visual design. It evokes a familiar level of comfort and I'm hoping once we get to spend more time with the magical familiar, Inkblot will come into its own.

If you enjoyed the first two issues of Inkblot, you will continue to enjoy this one. If you haven't, I think you could very easily pick this issue up and revel in its self-contained narrative about this cat doing cat things on a large scale.

And it's fun. The characters are expressive. The cat has one utterance that is incredibly cute. The backdrops are gorgeous, and each issue brings new set pieces and color palettes keeping everything fresh. Taken by itself, with minimal context, it works. And I'm excited to see a day where within its greater context that we might get a much larger payoff.

This is an issue you're going to want to pick up and read immediately. This is not one you should let lay on your desk. This demands to be experienced. This is the climax that Snyder has been building up to, and it's one of the most exhilarating reads of the year. The final confrontation with Perpetua is on the horizon, and Justice is prepared to meet doom at the gates, and I'm just so incredibly hyped for this book right now.

I enjoyed the time I spent in the magical realms of the DC universe, plus I think Tynion is a great match for the tone and characters. It's a fun opener, and any excuse to spend time with this particular cast is more than welcome.

Justice League Dark has found its footing. Tynion and Martnez Bueno keep you glued to the current panel, before revealing something exceedingly clever in the next. They are perfectly suited to take you through this tour of the dark, magic-fueled side of the DC universe.

As this arc ends, you'll want to catch up and get ready for the tricks that Tynion has up his sleeves. It is a wonderfully inventive book with a lot of heart that is a pleasure to experience.

As the stakes continue to rise, Tynion continues to distill the best of the magic in the DC Universe and give us an explosive rising action as the The Witching Hour persists.

Yet, the start of The Shadow Pact is less eldritch horror, and more personal demons. Whereas the last couple of issues have been exceeding high fantasy with world-ending spells at the ready, the journey into Myrra feels more subdued, although no less dark. This arc looks like it will be a chilling examination of Detective Chimp as the rest of the Justice League Dark continues to try and preserve the magic of the DC universe. Although Tynion and Sampere seem to be imparting magic every issue, I think everything will be fine.

All in all, this interlude feels like an interlude. We get a much broader glimpse of the stakes and we spend a little more personal time with Man-Bat, who has appropriately been mostly an observer in the Justice League Dark series thus far. There's no doubt that Tynion IV and Martnez Bueno are having fun, and I'm looking forward to their arc and a little more direction about what the team has to do to confront the Otherkind.

Justice League Dark #8 makes use of all of its previous momentum in order to kick the next arc in high gear. The promise of Otherkind confrontations and the intervention of the Lord of Orders is gonna be fun.

This is shaping up to be my favorite arc of Justice League Dark thus far. It's the natural continuation of various seeds planted earlier and the culmination is proving to epic, and I have to commend Tynion IV, Martnez Bueno, and Mendona for bringing such an ambitious tale to the page.

If Tynion IV and Martnez Bueno can keep up the stakes with every issue, we're going to be in for quite the treat.

Justice League Dark's “Lords of Order” has been exceedingly consistent. The creative team is producing an intriguing story that pushes against all previous preconceptions and creates a chilling atmosphere. It's all been a very exciting preamble, and I'm excited to see the grand finale.

This is my favorite issue of Justice League Dark to date by far. This is the culmination of a lot of hard work from both writer and artist that is so immensely satisfying to see, and I can't wait for people to experience this arc in trade.

Justice League #13 continues to build off the momentum of its predecessors and continues to be a highlight of the pull. You're going to want to keep an eye out on this series going forward. There's a lot of exciting elements that are all crashing together in a hauntingly beautiful story of the impossibilities of magic.

The start of “The Witching War” is largely focused on reframing the last thirteen issues, and by the end of the issue, we're ready for a full out brawl. Tynion IV and Martnez Bueno continue to tantalize and dazzle the storytelling senses and the end result speaks for itself. The series is without a doubt magical and deserves to be caught up.

At the core of this series is a reverence for the dark fantasy and the vastness of magic. Tynion IV and Martnez Bueno have crafted an intricate tapestry that has given us a peek into the proverbial coffers, and I remain excited to see the next issue and the results of the coming storm.

With writing and artwork this stellar, Justice League Dark #16 continues to be a fantastic run of the world of magic. It's a complete reading experience that encompasses such a staggeringly grand scale and is just incredibly enchanting in all the best ways possible. The monsters are beginning to take shape, and it just makes me excited to see what Tynion IV has in store for the cast.

It's still a good read, but it's less demanding and feels like a little bit of a lull in a series that has generally been very engaging. Still, the magic/horror superhero story has built up to a final face that will be very entertaining if nothing else, but we'll have to wait one more month to see the pay off.

As an interlude between arcs, this is an exciting one-shot that deserves to be read on its own merits and a must-buy for anyone invested in the Justice League Dark. It's certainly not conventional, but it provides an experience unlike any other.

The end of The Witching Hours lives up to its haunting name and the promise it made to change how we view magic in the DC multiverse, and I can't wait to see the repercussions.

Page per page, I think there are just as many instances that I am floored by March's work as I am confused by a particular decision. Karmen covers a lot of interesting space, but I'm also very confounded by where everything's supposed to head since there is a wide variance in tone. One moment, it is somber and philosophical and then the next there's a fart joke. It's a dynamic book and if you're able to approach stories about suicide, I think there is something interesting to uncover, but it may take some time to fully parse.

The foundation is solid, and this Lemire/Nguyen team up is a fantastic way to start off march.

Little Monsters #2 has officially sunk its teeth into me. It's a brilliantly constructed, expertly illustrated comic that any horror fan deserves to be current on.

As the story continues to unfold, Little Monsters remains an exhilarating read that I highly recommend. It is a strong entry of horror that showcases some stellar work from Lemire and Nguyen. If you're a fan of vampires, you're doing a disservice to yourself not partaking in this series.

I think I'm always going to have a soft spot for Low. It's design and world aesthetic has always been appealing, and the arduous drive of the characters to find something better than the status quo is admirable. But more so than anything, I'm excited to see this six year saga come to an end this December, and I mostly hope this review is a reminder that Low is still very much a deep meditation on what hope means and how it manifests in the unlikeliest of times.

It is a satisfying ending that hits all the right notes. A somber, sobering type of optimism that feels so very appropriate for 2021. Low was one of the first indie comic book series I started reading when I was first getting into comics and to be able to see it through to its bittersweet end and to have that emotional catharsis means a lot to me as a reader and reviewer and fan. This is resonant series that's left an impression and let this review remind you to pick it up one final or first time.

If you liked the 1994 film The Pagemaster or enjoyed Vertigo's more contemporary The Unwritten, you're going to adore Lucy Dreaming. If you have a younger reader that has a knack for daydreaming, they're going to love watching Lucy's opening chapter unfold. It's a familiar premise that has gotten a much-needed upgrades than to the thoughtful and fantastic creative team. It's fun and smart in all the ways you want a young-adult comic in 2018 to be.

But there's even more: the biographies of the creative team are told in Snicket-adjacent verbiage. There's additional text that expands on the spirit of Ludocracy that make it very clear that they know exactly what they did and they just decided not to just turn it up to 11, but break the damn speakers in the process. This comic won't be for everyone, but for the people who love absurdist humor with a fantastical flair, this comic is so far into your niche that you kind of owe it to yourself to read this tale of matrimony and murder.

If you're a fan of Magic: The Gathering, this should be an easy purchase. If you're not, this is a good fantasy comic that may or may not engage you. I think my enjoyment stems from own deep-seated knowledge, but it's a beautifully constructed book regardless.

As the cast of characters grows rapidly, Magic the Gathering will likely find itself at impasse to try and keep helping newer fans into the world and to appease the voracious fans who are fully aware of some of the pre-existing dynamics at play. As someone who errs towards the latter, I enjoy the comic and premise. I feel like this issue had a bit more bookkeeping and text boxes than maybe helpful, but it's remains a fun jaunt through a beloved IP.

Master of Metal manages to walk a fine line of being an independent story that also has clear ties to the mainline universe. It is a fun and welcome read and makes for a great villainous story that vest our interest in the world.

For any fans of the extended universe that Boom! Studios is cultivating and fans of Liliana Vess, this is a must read. For anyone, this might just pique your curiosity into the universe, but the mainline probably will act as a better starting point. Still, as someone who mostly follows Magic: The Gathering in passing, I have greatly appreciated having these comics to keep the spark of interest alive and well.

While Mamo #1 is very much a staging ground, it is a beautiful one. One that is a perfect introductory comic for younger readers and a nice little jaunt through the magic of childhood for older ones. I'm truly excited to see what Milledge has in store for all parties involved and I can't wait to see how she continues to bring that magic to life.

It's a very story that young, voracious readers will devour because of the inviting art and childlike syntax. Mamo #2 is double the length of your typical comic but feels like a breeze to read because the structure makes it easy to track and follow. There is a very deliberate relation between the action on the page, and the exposition in dialog bubbles. Milledge knows the precise amount of words to fill a panel and makes the entire experience a poetic jaunt. This issue has me very excited for whatever happens next.

This five issue debut from Milledge has reached its midpoint with bravado, and I eagerly await the final two issues to see how Orla and Jo's story continues.

Mamo continues to be a stellar example of comic book storytelling and a perfect comic for the young adult reader in your life, and also maybe for you as well. The friendship and family dynamics remain compelling and anyone who has had a complicated relationship with the places they grew up in will resonate with Orla and Jo's parallel journeys.

Milledge's five issue one was an excellent read from start to finish with incredible visuals and a salient story. This is going to be a fantastic graphic novel when it's fully collected for younger readers, but even older readers will appreciate the kindness and messaging of the series. It's sweet and endearing, and I think Milledge really gave the book the best possible conclusion they could.

Mega Man: Fully Charged #1 is not gonna make new fans of the character per se, but anyone who already has a predisposition towards Mega Man will be rewarded with a series that taps in the aforementioned surprisingly deep lore surprisingly well.

The sophomore venture of Fully Charged is endearing and charming in unexpected ways. As more and more elements of the Mega Man lore get drawn in, I can only imagine the series will become even stronger.

I don't think this issue is gonna convince a new reader to pick up the series, but I do think that those following along are definitely going to continue to have a good time.

I'm not entirely sure where this idea came from, but I'm now entirely sold on it. Parrott's writing and Di Meo's art evoke the best shared elements of both universes and the resulting product is a fun jaunt that captures that one part of your brain that excitedly watched MMPR or TMNT every week, and I'm excited to experience the rest of the crossover.

If I had time, I'd take a corkboard and start arranging comic book clippings with color strings to try and make sure I understand everything that's happened in the book. There's a lot going on and the rest of the Milk Wars are probably going to follow suit. But if you've been following any of the Young Animal titles, if you're a fan of offbeat, off-the-rails humor, you'll find yourself bewildered in the best possible way.

There are hauntingly beautiful moments and equally jubilant moments that leave you trying to verbalize "$%!?" It's weird. It escalates quickly. If you haven't been keeping up, maybe wait for the trade. If you have been though, pick up your pull and put this on top. You're in for a trip and the genesis of the next wave of Young Animal titles.

As an individual story, it holds up because of the universality of its message, but also how it incorporates and embraces the specifics of the universe. I can only imagine that the fans that have been keeping up with the series proper probably have an even greater appreciation for the interlude before Monstress returns. It certainly did its job and I'm adding the missing volumes of my collection to my pull list immediately.

Liu's writing and Takeda's artwork are as stellar as ever, and this intermission help provided some emotional beats and help get me excited for the return of the series which is really all you can ask for.

Regardless of whether you're a fan of Mouse Guard, I think this particular issue is special. I think it's a great introduction to the aesthetic of the world and its general thematics. If nothing else, it's just three really well-crafted stories all bound in a neat collection.

Writing aside, Henderson's artistic contribution to the book was incredible and sells the series. It is definitely gruesome, but it is effective at portraying body horror, at capturing such particularly brutal moments in a stylistic way. The illustrations are scarily detailed, the colors are eerily effective and able to switch between a subdued muted scale to a violently vivid visual. And that's interesting to me and I was enthralled by it, but I also recognize that series is definitely going to appeal to a niche audience.

New Masters is an exciting introduction to the Post-Adventu world. There are lots of narrative threads to follow and Ola's introduction is up there with the many great sci-fi rogues that have come before her. There's a lot going on, but even so, the visual aesthetic is spectacular and the diligent care in world-building is obvious. You can tell that Shobo and Shof have worked incredibly hard to bring this epic to life, and I'm very curious to see what happens next.

All in all, between the frenetic pacing of the comic itself and the enthralling exposition at the end of each comic, New Masters is a thrilling read that innovates on the familiar sci-fi tropes and presents them in a refreshing way. Ola's adventures continue to explore various aspects of this alternate Earth, and the more we get to see, the more I find myself recommending the series.

New Masters is innovative and expressive. There's a lot of worldbuilding done on and off the page, but Ola and her family's story has remained consistent and improved every issue. This is one of the finest examples of Afrofuturism you'll find on the shelves.

I'm very excited to see future entries of Newburn. Zdarsky's comedic and dramatic chops continue to shine resplendently, and Phillips's art helps articulate the world wonderfully. Fans of noir and procedures, you're gonna wanna make sure this one is on your pull list.

After 34 issues, we get Nightwing's answers to those questions. After 34 issues, we get to reflect on our own answers because of it. A fitting end to a series so grounded in revealing character through a myriad of reflections.

Yet, while there is a fair bit of action and a lot of happens during the issue, things don't quite connect for me. I'll read a scene I'm fully invested in, but will lose a bit of momentum as it shifts to the next in what feels like a rough transition. In part, I think it is because this is the new status quo of Nightwing. But I'm intrigued enough to gamble that the next issue is going to pay off now that the ante has been set.

Overall, the pacing of the issue felt smoother aided by the vignette style of storytelling. Nightwing continues to be the fun to follow. But my verdict on the Judge, and the arc as a whole, remains up in the air.

My enduring, continual skepticism of the Judge's efficacy as a villain aside, this issue begins paying out some of the gambles the earlier issues took. Nightwing is given the chance to the take entire stage, making full use of it. I'm excited to see where this goes, if only to see more of Dick Grayson's past.

The last few pages make me really excited for the inevitable showdown between Nightwing and the Judge. The Rise and Fall of Bldhaven has clarified the trajectory of the arc, and for that I'm thankful.

Perhaps The Untouchable is a story arc that's a bit too ambitious for its own good; the creation of a new villain while expanding on unexplored parts of Dick Grayson's past as it connects to aforementioned villain and setting it in a modernized Bldhaven. With all the elements finally coalescing, I'm happy that I don't know what's going to happen next now that I have all the flashbacks in context.

Perhaps, that is my main gripe. While we have a strong voice and visual for Dick Grayson and Nightwing, it's a story that seems more and more suited for Gotham and not Bldhaven.

I get the intent. I get what Humphries was trying to do. But I'm ending the series feeling like when I first started: interested, but not compelled.

But all in all, it told a fun, off-beat one-of story and it did it well. If nothing else, Nightwing #42 has made me that much more excited for the upcoming release of Batman Ninja, and I can be thankful for that.

In many ways, it's diametrically opposed to The Untouchable story arc. It's short, team-oriented, and attempts to be comedic in a sharp contrast to the long, solo, serious musing that was Nightwing's struggle against The Judge. You may enjoy the issue more than I did. I just want a Nightwing that better blends the two extremes.

This is looking like a start to my favorite type of Nightwing story. The one where Nightwing is talking to his friends and allies and trying to make sense of things. The one where Nightwing isn't overtly brooding or overtly stylized. The one where Nightwing feels more like the next-door-neighbor, street level superhero that's a little more grounded. Honestly, my biggest complaint is that Nightwing makes one too many mentions about his stripper pants. So personally, I can't wait for part 2.

The Bleeding Edge breathes new life into Nightwing, while also serving as an interesting meditation on our current technological usage. It leverages the superheroics in all the right ways, and this is an arc that you're not going to want to miss.

Nightwing #46 continues to be an exhilarating exhibition and examination of contemporary social issues. It has carefully leveraged the superheroic nature of the DC universe to give physical manifestation of our everyday fears. As the conspiracy behind Mirage Industries slowly unfurls to both us and our protagonist, we are forced to question the layered reality that we reside in — the intertwined nature of our physical and digital life. Percy continues to orchestrate an engaging tale that is peak Nightwing.

Between the commentary on social media, fake news, and information security, the Dark Web saga has largely been introspective. The action-packed premise of “win a race to save your friends” keeps some of the overtones, while being a bit easier to parse. Nightwing #48 is a fun issue that reads like a self-contained story, while doing some wonderfully intriguing worldbuilding. It's one of my favorite issues of Percy's run to date and I can't wait to get my hands on the next part of the story.

This is probably the best kind of filler arc that you could hope for in modern comics. It's a quick two-part joint that gets your adrenaline jumping and serves as a nice stand-alone story that still has pertinent consequences to the main arc. Nightwing #49 is the type of issue that leaves you out of breath at the end. And if this is just the appetizer to the milestone issue coming out next October, I can't' wait for the main course.

This isn't exactly what I was expecting for the milestone issue of Nightwing, in that it's not really a Nightwing story, as it is a Dick Grayson rediscovering who he is story. This brooding aftermath of horrible incidents is probably the biggest change up to the series in a minute. Still, I'm a fan of the creative team, and I am absolutely fascinated to see how the story is resolved.

To reiterated, Moore and Brown's artwork is fantastic, and the switches between artist highlight the different scenes brilliant mini-arcs that Lobdell and Nicieza set up, even if the content isn't the greatest filler. I'm hoping the next issue will bring some of the spark back to the series, because this one dragged just a little.

I miss Dick Grayson. I miss Nightwing. I miss the quips and the joy of the acrobatic hero. The thought experiment continues to drag and while there are parts that intrigue, the fascination with Ric's repetitive lifestyle is, unsurprisingly, repetitive.

Moore's and Zircher's artwork continue to delight, with dynamic action shots and wonderful panel work, but the colorful depiction of Bldhaven is the most lively thing about the issue. I want to know how this all ends, but it seems like the machination are still getting into gear.

The issue definitely reinvigorated my interest in the series, and I'm actually excited to see how what happens now that the three plots are converging on a crash course. Still a little rough around the edges, but it's the most fun I've had with Nightwing in a minute.

All that said, Nightwing still looks incredible. Mooneyham and Brown know how to visually engage the reader, and the artwork pops off the page with the different action sequences and physicality of the character. It's a pretty book, with lantern jaws of justice and old-school smoke effects. But, like with many things about this series, I've been saying that for a while. Nothing much has changed. If you're enjoying it, keep on. If you haven't, I don't foresee it changing pace.

But, it's not Nightwing. It's got the logo on the front cover, but it doesn't have the heart of a beloved character. I miss Dick Grayson. Ric Grayson is serviceable, but this is one departure from the core of the character I'm struggling to get excited over.

Getting a glimpse into the newsroom of Gotham is a welcome change of pace as Percy draws several parallels between the familiar inundation of information and familiar chants of fake news. Some of the quips are a bit heavy-handed, but that's part of the charm of comics. As the issue progresses, the main themes are paired with beautiful artwork courtesy of Schmidt. The integration of television static is a wonderful visual element and the action sequences give such a fun liveliness to our acrobatic hero. Plus Vire, the villain on the cover, becomes that much more frightening when given a chance to flex on the page.

Everyone involved is a true virtuoso, and this is one of the most exciting comics of 2021 thus far. It's this brilliant synthesis of horror, science-fiction, post-apocalypse, and superhero-adjacent elements that make it an enthralling read and should be on the top of your pull lists if it isn't already.

All in all, Nocterra continues to trek along as this solid piece of speculative fiction. It's an enthralling book that utilizes all of the tricks and tools in the creators' kit to make something truly stellar and one that's more than worth the price of admission for a truly wild ride.

Orcs #1 follows the same beats as your typical fantasy adventure, but Larsen's execution is delightful. It's a bombastic, unabashedly, unapologetically fun take on familiar.

All of that said, Origins is a fine sci-fi series although I think it's going to need a couple more issues to fully show what it's going to be capable of. The artistry is apparent and writing hints at a greater intrigue albeit maybe a little too vaguely, and if there is just a little bit more concrete information about the world that can distinguish it from its peers. I'm sure Origins will find its way to many shelves in the future, but only time will tell.

Origins has a beautifully crafted world, but the set pieces in more respects than one overshadow the story. The story is fine but does not grab me in the same way that the art has and as some of its siblings in the genre have done before. Moments feel good, but in its entirety, I find myself wanting more than the 20-some pages can provide in a month.

It took a couple of issues, but now that the foundation is there and another checkpoint has been reached, I'm loving the visual aesthetic and becoming very fond of the cast.

Plastic Man #1 is part origin story, part whodunit, part mafia film. The script is hilarious, the visuals are pure eye-candy, and neither shies away from the horribly dark happenings of Cole City. This is an all-female creative team breathing new life into gleeful Plastic Man, and you should make it a point to pick it up this week.

There are so many twists and turns, 'a-ha' moments, and winks at the reader in this issue. Here is a wonderful, colorful world of sex, crime, and conspiracy; with a quirky charm to it. Simone and Melo are an immaculate duo, and will make you a fan of Plastic Man in short order.

Plastic Man is unapologetically hopeful and unrelentingly funny. This is the perfect supplement to your weekly pull and will endear itself to you in shorter order.

The joy of Plastic Man is the joy of the absurd. If you will pardon every single one of the puns I'm about to make, it's a title that stretches the imagination of what you think superhero stories can do. It's a story that you can chew on like taffy. It bends all of the classic genre tropes and transforms them into something wonderful to behold. Plastic Man is just fun, unashamedly so, but also has one hell of a heart of gold at its crux.

As we approach the finale, I'll emphasis what I've said the past four issues: Plastic Man is everything I want from a superhero comic.

Plastic Man, the character, is one of the most powerful characters in the DC universe with a sleezy exterior and heart of marshmallow fluff. Plastic Man, the series, is a self-contained story that is a long love letter to the marriage of classical and modern superheroe stories. Simone and Melo have created a must read for any DC fan, and arguably any comic book fan.

Post Americana is fine. It gets points for its woman of color lead, but for me it lacks a compelling enough hook, narratively speaking, and in conjunction with its art style not quite meshing with my preferences, it's hard to say any more than it's just fine.

Even lacking awareness of the deep lore of the series, I was still able to appreciate the self-contained narrative arc, largely due to the fact that there is enchanting dialog, an internal monologue, and the mesmerizing artwork. Astronema sans any prior knowledge is still a fascinating character to watch operate in a world where you know she's stands opposed to the traditional good guys and seeing how she became situated in this evil galactic empire is honestly very enjoyable. McKinney's writing, in addition to being direct and fun to follow, also gives plenty of opportunity for Ragazzoni's artwork to breathe.

Out of all of the Power Ranger titles, this one's probably going to appeal particularly to the already enfranchised and specifically to those who are explicitly familiar with the Phantom Ranger. Andelfinger and Ragazzoni do a great job bringing the story to life, but this is a bit of a deep dive with a lot of moving pieces, but if you're into it, you're gonna be really into it.

All in all, sci-fi fans, Lemire fans, Sorrentino fans, Image fans, this is a must buy. This is an incredible start to a series and will be one that you'll want to start and stay current with. I know I will be.

Like I said at the start of the review from Primordial #2, getting to watch a creative team hit a home run with an earlier series and then proceed to reunite and hit another home run is nothing but awe-inspiring. The words and narrative of Lemire have given Sorrentino and Stewart an incredible scaffolding to showcase an endless thrilling world that has me itching for the next issue.

There are still so many questions that the creative has yet to answer, and the progression through the two narratives remains awe-inspiring to behold. This is a book you're going to want to get and stay current on, because you're gonna wanna have folks to talk about all of the mind-bending things going on. Primordial already made a very strong case for one of the best mini-series of the year, and Primordial #3 continues to augment it.

With Primordial #5 out, that means there's only one more issue on the docket. It's going to be quite the spectacle seeing the fallout from the animals' return. Lemire and Sorrentino have taken us through quite the odyssey through space and time and have proven that they are masters of capturing and presenting a story of this scope and magnitude, and it's awe-inspiring to behold.

I probably could have used a dozen more issues of this science fiction epic, but by that same virtue, the six-issue mini-series laid out an incredible journey through space and time, and I couldn't really ask for that much more at the end of it.

Depending on how the greater myth arc plays out, Proctor Valley Road could very easily become a staple in the genre. As of now though, I'm reasonably sold on the atmosphere and will be trailing behind the crew as they drive this road, wherever it may take us.

The story is fun, the themes are well represented, and the execution is on point. There's really not more to say other than this is quickly becoming a must-read comic. There is a tightness in the storytelling from both a writing and visual perspective that can't be overstated, while still being ambitious and taking big swings to get the dramatic reveals to land and I for one can't wait for the next issue.

Proctor Valley Road in its short run has managed to capture my heart between its endearing cast of characters and the general mystique of the world. The fantastical horror elements have Morrison's signature feel to them and their writing alongside Child's and Franquiz's artwork has resulted in a fantastic period piece, a fantastic speculative piece, and just a solid comic all around.

The creative team has clearly poured their heart and soul into the title. Espiritu's artwork with Fitzpatrick's colors craft a vibrant world that shows off the grandeur and splendor of New Orleans and the lives of its citizens. Barnes's dialog is perfect for the aspiring teenager comic book reader. If you, or a younger reader in your life, love Luke Cage, Cloak of Cloak and Dagger, Static Shock, Mile Morales, may I introduce you to Quincredible? This comic is a necessary work in this days and age and continues to prove that Lion Forge is doing the work.

It's fine, but in an era where there are truly spectacular works, I am indeed looking for something...well, radiant.

Graham does fantastic work with the visual language of his world and his distinctive style leaves a lasting impression that sits with you in the best possible way. It is engrossing and engaging and is a perfect slow rollout of a story. Rain Like Hammers has a very specific energy that I am very specifically vibing to, but I'm really excited to see how the rest of the mini-series unfolds.

This is not the story I was expecting, but it is one that I enjoy nonetheless and I'm ready to see how the narrative intertwine. Rain Like Hammers #2 has the same energy and vibes, just with a different cast of characters on a slightly different setting. It's a fascinating comic and one that I'm looking forward to seeing through all five issues.

It is this weird, experimental story that bends and blends genre. You have espionage, you have drama, you have thriller, and you have a metric $#!%-ton of incredibly sci-fi aesthetics that completely sells itself. The beautiful two-page spreads are nothing short of breathtaking and in moments like before, perfectly encapsulate all of the wonderful chaos and life that abounds in Rain Like Hammers.

Between the wonderfully weird and endearing art style, the off-beat and quirky satirical dialog, and surprisingly poignant commentary on the nature of participating and escaping from oppressive frameworks that perpetual seemingly eternal power structures, Rain Like Hammers has shaped up to be one of my favorite mini-series in recent memory and I am so incredibly excited to see how it all ends next issue (and to find out what the hell happen with Eugene).

While conspiracy theories are still a dangerous concept, I think I'm okay with them being retrofitted to tell an interesting piece of fiction. Cantwell and Casalunguida have captured and captivated with a stellar hook and magnificent rendition of said hook that I will gladly follow them down the rabbit hole they have carved out.

The first issue of Regarding the Matter of Oswald's Body intrigued me, and the second issue has enticed me. Cantwell and Casalanguida have fully captured my attention with their skillful presentation of what will be a very fun thriller. There's a lot to appreciate about the craft and a lot to appreciate about the story, which is a winning combination in my book.

Each new issue impresses me more and more, and I eagerly anticipate the last two in the series. The creative team has found a wonderful cadence and the experience has just been fantastic. I can't wait for the full volume to read the story in its totality and appreciate the wild sandbox Cantwell and Casalanguida have built.

I was not expecting to fall in love with the series as much as I did. But the joint efforts of Cantwell and Casalanguida have culminated in a stunning period piece and historical fiction that use one of the premiere conspiracy sources to wax poetic about the small and large actions that we take. I'm very excited to see how it all comes together in the final issue, because I think it's going to be something special.

All in all, the series has been great, and I have full faith that once the collected volume is released a lot of folks will find themselves captivated by the thriller that Cantwell and Casalanguida have cultivated.

All in all, Ronin Island #1 is a devastating strong opener of an issue. No panel is wasted, no narrative beat feels unused. It's a quick, rapid-fire page turner that slowly invites the reader into the world and shines a little more light each time your eyes devour the stellar storytelling and beautiful art. This is something you're gonna want in your pull, folks. We're lucky that we get to see the start of the epic of saga that is Ronin Island.

It's good to have Saga back in the pull. The new arc is off to a very promising start, and there is nothing quiet like this particular emotional roller coaster.

This is the zenith of storytelling. This is the textbook on how to construct simultaneous narratives and still feel like the overarching story arc is progressing at full speed. This is just the latest example of how Saga has fundamentally altered the world of comics and how it's not to late to start reading. This is a reminder to pick up your pull so you can see the saga unfold.

I honestly wouldn't have it any other way. This continues to be the comic I put at the top of my pull every week.

Saga #52 continues building a house of cards on top of dominoes that were laid out last issue. At any moment, you know something is going to give. Something is going to break beautifully and horrifically. It's an issue that showcases what Vaughan and Staples do best: lure you into a magical world and challenge every single one of your perceptions.

Next issue is the quote unquote season finale. I am currently exceedingly stressed out that I have to wait another month to see how this all wraps up. This arc has been harrowing every step of the way, and there are only so many ways that I can say Saga is going down in the history books as one of the greatest stories in any medium. But Vaughan and Staples continue to show the fuck off.

This issue was difficult to read. So much of the story is told in silence which only bolsters the impact Vaughan's incredible dialogue has when it shows up. Staples' artwork is visceral, vibrant, and brutal. Each wordless panel hits like a bag of bricks. The deftness with which the two are capable of changing tone is awe-inspiring. It's the comic book manifestation of multiple punches to the gut. It hurts, in a tragically beautiful way. It's truly the only way the arc could have ended, but it makes it no less difficult to process. I'm gonna need that year to recoup. I got no quips at the end of this review. Just a simple fact.

I've read many great comics while Saga was on hiatus, but Saga still hits different. Vaughn's writing takes you through an emotional rollercoaster that leaves you reeling. Staples' art has your eyes wide open in awe of the spectacle and then blush at the risque. Saga in its totality is the medium at its pinnacle. A sequential combination of words and visuals that captivate, that makes one relish the turning of the page. You can't not talk about Saga when there is Saga, and it's good to be back. Emotionally devastating still. But oh so very good.

Saga's been one of the best comics on the shelves since its inception and the hiatus, in real life or time skip in-universe, has not changed a thing. You should be reading Saga so you can talk about Saga. It's a showcase of artistry and penmanship that I'm thankful that I get to read and I'm already itching for next month.

By the time I finished reading Sci-Fu, I had a huge smile on my face. I'd be very excited to see a sequel or animated adaptation. Mercado's comic could just as well be a beautiful storyboard. Sci-Fu was fun. It had fun bridging the generation gaps. It will be a great gift for the young adults in your life that you may want to get into comics, or maybe just for yourself.

If you're fan of sci-fi and/or horror comics, Sentient is so far up your alley and at this point so old that you probably already heard of it or own it, but let me implore you that if you haven't picked up a copy: please, please consider buying direct from TKO Studios. You're gonna end up with a staple sci-fi story from two master storytellers recounting a tale of survival and found family. And if you've read any of my reviews, you damn well know I love nothing more than a good found family story and this folks is a great one.

Bottom line is Seven Secrets masterfully establishes its tone and the atmosphere of the series beautifully and succeeds as a first issue where it matters most: making me want to read the second issue.

Seven Secrets #2 fulfills the promise of is #1, and I personally cannot wait to see how the rest of the series will unfold from here on out.

Seven Secrets #3 further anchors itself to Casper and does itself a great service in that respective because Casper is such a lovable character with equal amounts of tenaciousness and compassion. He's the exact type of character that serves as a great focal point to a weird, long running mystery, and I'm excited to see where Taylor and Di Nicuolo take him.

I find myself more and more endeared with the series as the months pass. It's has steadily drummed up internal hype and paid it off consistently, and I'm more than ready to pick up where we left off this issue next month, like a good serialized story wants me to.

Seven Secrets #5 fulfills the promise made in Seven Secrets #4. It shows how all of the parties moved into different positions and the immediate consequences and continues just to be fun to read and look at it. The action is bold and compliments all of the personal victories and losses that it precedes and follows, and it just works as a concept. There is a strong through-line that makes me excited for the next month, and that is the biggest compliment I can give a series these days.

It's no secret that I love Seven Secrets. I cannot recommend the series enough. Over the last six issues, we have had intrigue, action, and wonderful character work that is rendered carefully and beautifully and if you can, I really implore you to get the single issues now so you can be ready as soon as possible for the next part of the journey. But I imagine the collected first volume will also be a superb experience.

Read the first volume if you haven't already. Read this issue the moment you're able to. This is a masterclass of world-building and character building and it's just such an overwhelming fun book I can't help but to keep recommending it month after month.

The second arc of Seven Secrets is only stepping on the gas further. This is one of the coolest, engaging, original sequential pieces of storytelling out there, and you should be doing yourself the favor of reading this ongoing. Taylor and Di Nicuolo are generating absolutely spectacular content that I can't recommend enough with Seven Secrets #8.

If you're a fan of Tom Taylor, or Danielle Di Nicuolo, or science-fiction, or found family, or comics, really, you need to be reading Seven Secrets. This is one of the most exciting serials and every issue manages to navigate a fascinating tight rope of providing concrete details juxtaposed against the most infuriating compelling vagueness that just makes for that much more of a thrilling narrative.

This is a beautifully constructed and conceptualized comic, and every issue reinforces that belief more and more. There's something in the pages for everyone, and you owe it to yourself to get invested sooner rather than later.

I have so many questions about what the @#$% I just read. Fortunately, I know I'll probably find out more next month, but unfortunately, this means I'm going to be stressed out for an entire month. Taylor and Di Nicuolo have concocted an emotionally engaging piece of speculative fiction, and I just want the next issue tomorrow"but alas. I have to languish for my answers.

Seven Secrets #12 continues to carry the strong forward momentum of the arc. And once again, I am desperately waiting for the next issue so I can talk about this one in uncensored glory, because good god, I am stressed out.

All the pieces are in place. We ostensibly know how the story ends but, my goodness, it continues to be an incredible journey. If you're not reading Seven Secrets, you should go to your local comic book store and pick up the first two volumes and issue #13 immediately. This is some of the most thrilling material on the shelves right now.

As the latest arc of Seven Secrets moves at a blistering pace, it remains visually delightful and narratively impactful. It is a book that is designed to be devoured in true serial form and can also be inspected from a dozen different angles to find new appreciations of the craftsmanship put into the series. This series remains at the top of my pull when it circles around, and I don't foresee that changing any time soon.

There's nothing quite like Seven Secrets on the shelves, and Taylor and Di Nicuolo continue to outdo themselves every issue. It is a tour de force with a grand scope and an endearing cast that has me itching for next month's issue.

I can't really say that I'm ready for the final issue of Seven Secrets. Casper, Eva, and the entire cast of characters have been near and dear to my heart over the course of the series, and the incredible storytelling and artwork Taylor and Di Nicuolo have provided respectively have resonated deeply since 2020. Seven Secrets #17 was a near perfect way to segue into the conclusion of the series.

This is ultimately a story about shadows cast. Living in the shadow of trauma, of being an outcast in high school, of an older sibling who you think you could never live up too. And Shadecraft‘s three-act structure works brilliantly to explore these different topics effectively. The tone and atmosphere build naturally off that once we get to the big reveal, it all feels earned and poignant. Zadie's a fun protagonist to follow because she feels very familiar, and we all have known someone in our lives like her in some capacity, even if none of us probably know exactly what it's like to have supernatural killer shadows stalking you. I commend Henderson for writing her so well and for Garbett illustrating her journey so dynamically.

Zadie's a fun character to follow and as the myth arc continues to be enriched, I look forward to seeing what the creative team has in store. Shadecraft‘s visual language and quick pace make it a fun jaunt that will sneak up on you like your own shadow.

This is a very weird intersection of genres, but the end result is a very enjoyable jaunt that I'm going to be following very intently. Smith and Cardinali play off each other incredibly well, and I can't wait to see what future shenanigans are on the horizon.

Even though a lot of the violence happens in the brightly vivid dreamscape, there is still a sense of menace and mystery surrounding the shadowy woman that has brought Stetson and Finch together. Slumber #2 does fantastic at accelerating the plot and maintaining a sickly dark humor that manages to charm the reader. I'm convince that this comic isn't going to be for everyone, but for those who have historically enjoyed characters like John Constantine or the antics of Invader Zim, with a stomach for the viscera, you're going to have a grand time in the playground Smith and Cardinali have cultivated.

Something is Killing the Children #1 is a remarkably chilling introduction to the world and blends and remixes various horror elements to create something thrillingly fascinating. Tynion IV, Dell'Edera, and Muerto are a wonderfully cohesive team, and I can't wait to read more.

It's a fun romp and one that's full of adrenaline inducing actions and intriguing character designs. As a way to introduce new threads and plots, Spawn #314 manages to capture my attention and show why Spawn and McFarlane are iconic.

Star Wars: Age of Rebellion " Lando Calrissian #1 is one of those great introductory comics. It's a self-contained snapshot of a familiar universe in comic form and you can tell that Pak and Buffagni had a lot of fun filling in some of the timeline. I'm intrigued where the rest of the collection will explore.

The build up to the grand lesson, the hidden anecdote of the story, is well crafted and well thought out. It's not entirely new or surprisingly, but it is comfortable. It still elicits a smirk when the title of the issue clicks into place, and while we don't get anything new " the ride is fun. The Age of Rebellion stories have the difficult task of providing more stories for familiar character, but Pak continues to try and find an interesting perspective to mull around it and provide with a short, neat little tale that, alongside Bachs' artwork, still gives us a worth while read.

We know as much about the world as the protagonists and witnessing the start of their odyssey was a true pleasure. I have loved Spurrier's stories in the past and while a textless comic is a hard sell, I think the entire creative team rose to the occasion and this is a must buy.

It's a surreal experience to be sure, but one that I'm utterly enthralled in. While I don't think I want every comic to go this route, Step by Bloody Step is a breath of fresh air that plays with the medium in an exciting ways, and I can't wait for the next issue.

I personally feel like Zdarsky and Prez took bit long of a detour to get the first chapter of Stillwater up and running, but the foundation of the story is definitely solid (if not cursed in some capacity), and I'm curious what will come next.

All in all, let this review serve two purposes: 1) to go check out Stray Dogs if you're in the correct mental space for that, and 2) if you're already into Stray Dogs, to check this out. It's a unique aesthetic and emotionally compelling storytelling, and everyone involved should be commended for their work in extending the universe.

As the action continues rising, it's become apparent this is a very ambitious story. The final page of the issue adds an entirely new foil to the already packed story, welding together multiple arcs from multiple titles. It's a little darker, it's a little denser, but it's fascinating nonetheless.

It's a fitting conclusion. It wraps up the storylines and makes you want more of the characters. You can't really ask for better.

I'm glad to see Damian and Jonathan get to live out the normal parts of childhood after twelve issues of all the super heroics. I'm glad to see Talia al Ghul back in the fold. The series exudes joy, and I'm here for it.

It's an honest shame that we don't get to spend more time with Lois and Talia. While the series has made it very clear the traits that the Super Sons inherit from the Super Fathers, this issue scratches at the surface of what they inherited from their Super Mothers. It's a fantastic story, it just runs a little short.

Super Sons has always been a simple outing. It's never been more complicated than the Son of Batman and the Son of Superman getting into all sorts of shenanigans as they try to figure out how to become better versions of the parents. Yet, it has always been an endearing story and Tomasi's final arc promises to be the only thing we could ever want: Superboy and Robin rising to the occasion.

The World's Soon-to-Be Finest are very much their fathers' sons. Tomasi has written them so brilliantly that it's clear that while they still have plenty of growing up to do, they are on the right trajectory to surpass the cape and cowl before long. There are plenty of winks and nudges to the fans, and there is a peculiar type of triumph that'll make you smile when you get to the end.

As such, Imperius Lex in large part has been a return to more iconic elements, with the larger focus on both Apokolips and Lex Luthor and the eternal question: what does one do with all that power? It's certainly a fun way to start the end of the year.

Time travel and alternate reality stories are difficult to follow. There's a lot of bookkeeping involved, a lot of narrative jumps that need to be ordered and made, and you're going to want your back issues near, along with some notes. But if you just want to jump aboard and see what happens, you're in good hands and company.

The penultimate issue of the Super Sons of Tomorrow event weaves together all of the disparate elements that led up to it. Much like Tim Drake, it has evolved into something else entirely than what its start seemed to indicate and has this reviewer more hyped than ever for the finale.

Fictional heroes represent the virtues we hope to embody. With all of their powers, they choose to protect and inspire. On a fundamental level, they illicit wonder. With its premise, its dialogue, its fantastic artwork, Superman #39 is a one-shot story that masterfully demonstrates why Superman and Co. have captured the collective imagination.

I don't want to say it falls flat. Robinson weaves his narrative into the preexisting canon and thematically, it builds off The Oz Effect and the idea of a lost home, and Super Sons of Tomorrow and Jon's attempt to take control of his personal life. But it's rough around the edges, a bit heavy handed at points, and too on the nose. The issue has its moments though, and if you're fan of Superman, you'll find something to enjoy.

While I can appreciate the attempt, this retread of the science and religion dichotomy with a Superman spin leaves me wanting more.

It is a very poetic way to end with a Bizarro storyline. I'm sad to see the end. But by that same virtue, I'm happy to have Gleason and Tomasi back in the driver's seat, showing off how much they love and respect the Superfamily. I'm happy that the start of this arc is bringing everything full circle for an appropriate bookend.

Superman is just" fun. It's the type of story that you can appreciate whether you're enfranchised or new to the series. Gleason and Tomasi have curated such a wonderful sandbox and they continue to deliver stellar storytelling.

Superman #44 is the penultimate issue of Gleason and Tomasi's run with the Superfamily. The entire Superman: Rebirth has been some of the finest storytelling that DC Comics has produced, you owe it to yourself to pick up a copy.

Gleason and Tomasi capture the voices of the character in their dialog and internal monologue. Gleason's artwork is as beautiful as ever. I've said this before, but the truly great Superman stories are the ones where his powers can't save the day. They're the stories where his innate moral compass and compassion do. And my Rao, Clark and Lois raising Jon has been truly brilliant story and this is an equally awesome conclusion to it.

Interestingly enough, each of these stories had enough merit to warrant their own issue. The combination of all three into a single package makes this is a very desirable issue for the Superman fan, particularly for those who loved the Tomasi/Gleason run.

Superman Smashes the Klan #1 is the story of an incredible story that takes the beats of the past and remixes them into something new and special. The joint narration of Superman and Roberta Lee as they deal with their own identities and a cult of white supremacists is uplifting in a very particular way and is a shining reminder of why I'm thankful for comics.

I've always loved Superman, but Superman Smashes the Klan reignited that love in a very particular way. There was catharsis. There was joy. There was a moment at the end I damn near wept over, because it was the perfect way to end the story, and I'll leave it at that. Whether you're a longtime fan of Superman or know a kid who you think would love comics, you should get the complete series the next time you see it. It'll be money well spent.

This short three issue mini-series is off to an incredible start. Each page is fascinating to look at and Sylas's story has a deep well of mythology and intrigue to keep any reader's attention. I'm very excited to see how the rest of the comic plays out if this is how it begins.

Syphon #2 carries all of its momentum forward with a stellar entry that furthers the plot and character in exciting ways. The entire creative team is doing incredible work that is resulting in an enthralling experience.

Test #1 is a strong opener that wastes no times setting the stakes and getting you hooked. The science fiction premise coupled with the incredible visual and verbal storytelling makes for a memorable read that's worth adding to your pull.