Hellverine #1 is a bland, forgettable start to a series about a character who's a derivative of a derivative of a derivative. Benjamin Percy spends two-thirds of the issue on a montage of Hellverine's origin and the last third in conversation with Dr. Strange. Readers looking for bang for their buck should look elsewhere.

Psylocke #2 is another solid entry in the series that puts the psychically-bladed mutant on the hunt for mutant child traffickers. Alyssa Wong's script nails the major plot points and pacing for a relatively satisfying read, and the art team's visual delivery looks great. This issue won't win any awards, but it's one of the better solo titles coming out of the X-Office.

Ultimate Spider-Man #12 does exactly what Marvel and Jonathan Hickman should NOT be doing – more world- and character-building of side characters, relegating Peter Parker to the back burner again. If it weren't for the strong, albeit predictable, twist in the last three pages and Marco Checchetto's gorgeous art, this issue would be a complete waste of time for Spider-Man fans.

Uncanny X-Men #7 is an uneven, mixed bag of an issue with strong action and a good pace, but the positives are overshadowed by an inconsistent overlap with X-Men #8, weird plot holes, and a general lack of satisfaction. Tom Brevoort's first “event” since starting the From The Ashes era is off to a mediocre start.

Amazing Spider-Man #63 pits Spider-Man against the third scion of Cyttorak for a time-hopping battle designed to crush Spidey's spirit. Justine Ireland joins the title to deliver an issue with a solid plot at a high level and strong personal moments between Peter and his circle of friends and family. Unfortunately, the main event gets shortchanged with a poor setup, poor resolution, and too little page space in favor of slice-of-life drama.

The Ultimates #7 presents a day in the life of the Ultimate Avengers after their defeat at the hands of the Ultimate Hulk. Deniz Camp's script goes nowhere and accomplishes nothing except to give a voice to the heroes to express their feelings, while Camp uses the backdrop of the NYC Memorial as an opportunity to preach about hate and intolerance. If nothing else, Juan Frigeri's art looks fantastic, even if the issue is almost all dialog.

Wolverine #4 is another contrived excuse to get Wolverine to fight an assortment of Adamantium-enhanced villains. Saladin Ahmed's coincidence-laden script gives Wolverine plenty of fighting fodder, which gives the average reader what you would expect from a Wolverine story, but the plot could use more effort.

X-Men #8 commences the Raid On Graymalkin crossover when Cyclops decides to take the fight to his enemies. Jed MacKay's script goes a long way toward elevating Cyclops as a leader on the battlefield, but the setup and conclusion don't quite work. Plus, Stegman's battle action is generally solid, but his choice to inject moments of cartoonish silliness deflates the dramatic tension.

Amazing Spider-Man #62 brings forth the second offspring of Cyttorak, culminating in the second death of Spider-Man for a clunky second chapter in the arc. Joe Kelly tries to get the series back on even footing but stumbles by leaving out multiple plot points and basic context. Well, at least the art is great.

Dazzler #3 takes a considerable step back from issue #2 when Dazzler and Lila take an ill-advised field trip to the worst city in the world if you're trying to go unnoticed. Jason Loo lost the plot (literally) with an issue that's inconsistent with the previous issue and depicts Dazzler making one bad choice after another. If nothing else, the art is very good.

Iron Man #2 continues the downward spiral of Tony Stark and readers' hopes of getting a good Iron Man story when Spencer Ackerman makes Tony and everyone around him make the worst decisions possible. If you have to make everyone an idiot to get your plot to work, I've got bad news for you. On a brighter note, the pseudo-steampunk suit is starting to grow on me.

Ultimate Black Panther #10 introduces readers to the Ultimate Sorcerer Supreme, which could be the best development we've had in months. That said, Bryan Hill's plot continues to go practically nowhere. Therefore, you get great art and the novelty of a cool new derivative character but not much else.

Uncanny X-Men #6 is a mixed bag of interesting moments and genuine connection between the characters overshadowed by a clunky, disjointed, plothole-riddled script. Gail Simone masterfully executes the heartfelt scenes between the characters, but the general plot is unfocused, and things happen without a plausible setup.

Exceptional X-Men #3 continues to lean into a YA version of the New Mutants with mean girl cat fights, teenagers who talk like they live on Twitter, and a complete lack of drama or urgency. Carmen Carnero's art is excellent, and Eve Ewing's plot is predictably moving toward where you expect it to go, but this issue is soft in every sense of the word.

Storm #2 delivers a healthy blend of action and emotion when Storm deals with the fallout (literally) of her radiation exposure in issue #1. Murewa Ayodele does a fine job of ratcheting up the urgency as Storm's life slips away, but the setup is fuzzy on important details and believability.

Ultimate Spider-Man #11 improves on the previous several issues by having Spider-Man show up and act like a superhero. That said, Jonathan Hickman continues to keep the series off-balance by shortchanging the action in favor of lengthy character conversations, and the big reveal of Ultimate Black Cat is surprisingly disappointing. Still, some Spider-Man is better than none, and David Messina's art is solid.

Wolverine #3 is an action-heavy but plot-thin issue that puts Wolverine in a three-way fight between Wendigo and Department H soldiers. Saladin Ahmed ticks all the boxes for a basic Wolverine fight, and the art from Martn Cccolo looks amazing.

Psylocke #1 is an energetic, action-packed, one-and-done story that introduces readers to Psylocke. Filled with strong emotional beats and even stronger art, new readers who know nothing about Psylocke will enjoy this issue. That said, this story lacks much context and doesn't connect to anything happening with Psylocke's place among the X-Men.

Ultimate X-Men #9 is a significantly better issue. Peach Momoko keeps the pace and energy up while tightening the plot to focus on just a few threads at a time. Unfortunately, several threads that have big cliffhanger moments suddenly get pushed to the back burner, so the issue is fine, but the arc is disjointed.

Uncanny X-Men #5 concludes the Red Wave arc with a rousing battle on two fronts. Gail Simone impressively mixes gritty action with strong emotional beats for an emotionally weighty issue, and the art team's delivery is first-rate. That said, the conclusion leaves too many unexplained plot points dangling for a sloppy, frustrating conclusion.

Amazing Spider-Man #61 begins a new arc with a new creative team by naming Spider-Man as Dr. Doom's champion to fight and die to protect the Earth, over and over again. Joe Kelly does his level best to turn a predictable concept into a meaningful story, but the entire issue barely rises above mediocre. If nothing else, Ed McGuinness and Mike Farmer's art looks great.

X-Factor #4 is a nonsensical one-and-done mission that keeps the team busy doing nothing important as an excuse to have Cecilia make up with her ex-boyfriend. Mark Russell's brand of satirical humor is blessedly absent through most of the issue, but the mission and execution are just plain dumb.

X-Men #7 answers questions about the Merle Sentinel, Magneto, and young Piper, but the answers aren't particularly interesting or thought out, and the series appears to be standing still. Jed MacKay's take on the X-Men is quickly turning out to be a dud.

The Ultimates #6 may be the best issue in the series when Deniz Camp assembles the Ultimate Avengers for their first big mission, and they get their butts handed to them. Despite the poor setup, the issue flies with power and energy once the big door opens, and artist Juan Frigeri looks like he's having a blast with the big hits and surprising amount of gore.

Wolverine: Revenge #3 confirms what we already suspected. This series is nothing more than a Hickman vanity project to smash action figures together without any thought or effort to explain why they're fighting. If you've ever been curious about who would win in a fight – Wolverine or Colossus – pick up this issue for the novelty factor, but don't expect a story worth the cover price.

Amazing Spider-Man #60 ends the series and Zeb Wells's tenure the only way it could, by accomplishing nothing and proving that all sixty issues were a waste of time and money. If you throw out Wells's run, you won't remember it as anything more than a bad dream, and your appreciation of comics will only improve. Goodbye, Zeb Wells. You won't be missed.

Ultimate X-Men #8 keeps the energy and pacing up to follow up on the previous issue. Some intriguing developments will catch your attention, and the plot vaguely feels like it's moving toward something. That said, the high pace is offset by a scattered, disjointed plot.

Dazzler #2 is a significant improvement over issue #1, mainly for being significantly less tone-deaf and offensive. Jason Loo's script sets up a mildly interesting mystery, and Rafael Loureiro's art looks great. Dazzler #2 won't be anyone's pick of the week, but it should earn an award for most improved.

Iron Man #1 is a frustrating, annoying, utterly off-putting first issue. New Marvel writer Spencer Ackerman puts Tony Stark through the wringer by making a series of boneheaded mistakes and inconsistent decisions that don't remotely align with Tony's character. This issue isn't an Iron Man comic. It's a comic starring Spencer Ackerman wearing Iron Man skin, and it's not going to move the needle one bit.

X-Factor #3 is another painfully unfunny issue in a painfully unfunny series. Mark Russell's clumsy dig, equating Elon Musk with destructive tech bros and Nazis, is as subtle as a brick to the face, and the plot only works if everyone in the script, including X-Factor, are idiots. The saving grace of this issue is Bob Quinn's immaculate art.

X-Men #6 gives readers crumbs of information about 3K and brings more mutants into the Factory, but that's about it. Jed MacKay's slice-of-life approach to the X-Men may sound good to Marvel editorial, but it's not a good way to waste the reader's money. Wake me up when something happens.

Mystique #1 is a bland, convoluted affair that finds the shapeshifting mutant engaging in spycraft and murder for top-secret information. Declan Shalvey's tale won't move the needle in any direction, so you'll have forgotten this comic exists before you turn the last page.

Uncanny X-Men #4 gives readers plenty of edge-of-your-seat action when Rogue takes on the Hag. That said, Gail Simone continues to drop in plot points without setup or explanation, so many of the nuggets we receive about the Hag and Rogue's mysterious, new psychic powers come off as out-of-the-blue, confusing, and frustrating.

Ultimate Spider-Man #10 is a slow, tedious ride along with Ben and J. Jonah as they chase down a story with wide-reaching implications. Hickman is close to holding the record for the most number of Spider-Man issues without a Spider-Man. That said, the dramatic intensity picks up in the last act, and guest artist David Messina does a fantastic job filling in for Marco Checchetto.

Exceptional X-Men #2 is a slow, boring, and sometimes uncomfortable chapter in the series. Eve Ewing may be too successful in showing Kitty's attempt to live a mundane life, while Carmen Carnero's art is much better than it has a right to be for the script.

The Ultimates #5 introduces a cool new version of Hawkeye to join the fledgling group of heroes. Unfortunately, writer Deniz Camp can't get out of his own way, going overboard on the soapboxing instead of giving you a complete picture of Hawkeye's personality. What could have been one of the stronger variants in the Ultimate universe is squandered.

Amazing Spider-Man #59 is a fight and nothing else. There's no plot, no story progression, and no effort put into writing this comic. It's as if Marvel approached John Romita Jr. and said, “We don't have a story, so draw a multi-issue fight.” This issue may possibly be the worst example of disrespect for the Spider-Man IP (and Spider-Man fans) in Marvel history.

Sentinels #1 is one of the more unique comics to come out of the From The Ashes era of X-Titles, but it just doesn't need to exist. The characters aren't compelling, the motivations and stakes behind the team's missions aren't clear, and the art is below average for a Marvel comic. Drama, for its own sake, isn't good enough..

Storm #1 doesn't need to exist. Murewa Ayodele's voice for Ororo is somehow off-putting, the action is illogical, and Storm's bid for Congress gets off to a very bad start through her own actions. This isn't the worst From The Ashes debut, but it sure won't help you appreciate or like the titular character.

X-Men #5 gives readers a mildly interesting horror comic in the same vein as The Cell (2000) to find out how Ben Liu became a mutant. Ryan Stegman returns to deliver perfectly decent art, and Jed Mackay's script has some surprisingly effective scares, but the issue accomplishes almost nothing in an arc that's going nowhere.

Ultimate Black Panther #9 gives readers a quick peek at the Ultimate Sorcerer Supreme and does nothing else. Bryan Hill hasn't moved the plot in any meaningful direction in months, so this title has truly become a waste of time and money. Well, the art is pretty great, so that's something.

Uncanny X-Men #3 is an oddly disjointed comic with strong emotional beats and interesting action. However, the pieces are clumsily assembled, presenting too many shortcuts and a schizophrenic sense of urgency. David Marquez's art pushes the emotional heart of the story, but Simone's plot structure and flow are rickety.

Wolverine: Revenge #2 looks great for letting Wolverine loose on his hated enemies, but the head-scratching plot completely falls apart after page four. It looks like Marvel asked Jonathan Hickman to scribble out an idea on the back of a napkin for Wolverine to kill a bunch of people, and the result is a convoluted, conflicted mess.

Amazing Spider-Man #58 is nothing but a mean, nasty brawl from beginning to end. However, Zeb Wells's action-heavy script lacks anything resembling a plot or meaning. In every way, this arc feels like an excuse to run out the clock on Wells's contract, which certainly doesn't deserve the inflated cover price.

Ultimate Spider-Man #9 is a generally solid issue that gives Peter's suit an upgrade (again), gives J. Jonah and Ben a marketing lesson on running a newspaper (?), and pits Harry and Peter against the first member of the Ultimate sinister Six to join the hunt. Overall, Jonathan Hickman's pacing picks up a bit, and the developments here range from interesting to amusing, but the pacing is much too slow to hold interest for anyone but hardcore fans, and Peter's lack of concern for himself and his family's safety is a head-scratcher.

Dazzler #1 is an embarrassment of riches for people who like the idea of Marvel superhero comics but don't actually read Marvel comics. Jason Loo's script is a mind-boggling array of social activist talking points, non-sensical character representation, and painfully tone-deaf plot developments. But at the very least, the art is pretty good. If you read Marvel superhero comics because you like Marvel superhero stories, avoid this issue at all costs.

The Incredible Hulk #17 finally gets Phillip Kennedy Johnson off his meandering butt to make progress on the Hulk's conflict with the Eldest. Bruce is forced into a Faustian bargain that will tear your heart out, and Nic Klein returns to turn the screws with fantastic art.

Ultimate X-Men #7 begins a new arc with by filling in the blanks with intriguing world-building and setting up the latest Ultimate version of a mutant to join the series. Putting it generously, Peach Momoko's pace and energy remain sedate, but the volume of intriguing developments and introductions build enough curiosity to keep going.

X-Factor #2 is so very, very tiresome. Mark Russell can't decide if this series is supposed to be witty satire or serious drama, a superhero comic or a deep treatise on the "human condition, a tragic love story or a slapstick comedy. With little action or purposeful direction, this comic doesn't know what it wants to be or why it exists other than to fill shelf space.

X-Men #4 delivers another one-and-done mission as the X-Men battle the Upstarts to stop a killing spree. Jed MacKay's concept, sadly, starts shaky and gets shakier as the issue progresses. However, the new art team maintains and slightly improves the visual quality after Ryan Stegman's departure.

Amazing Spider-Man #57 ratchets up the stakes, action, and tension when Tombstone makes bail and takes steps to make sure he stays out of jail. Unfortunately, the goodwill created by building momentum is spoiled by a bizarre trap that's too dumb to believe. Couple a bad creative choice with bizarrely inconsistent art, and you get a wildly uneven issue.

Ultimate Black Panther #8 continues to take the slow road to somewhere with an issue that looks good doing very little. Bryan Hill is doing his darndest to kill time and fill space waiting for the Maker's return, but at least Stefano Caselli's art gives you something good to look at while you wait.

Uncanny X-Men #2 is much less busy and unfocused than issue #1, but Gail Simone's script takes shortcuts in the wrong spots, leading to an incomplete and unsatisfying battle, strange strategic decisions, and narrative gaps (How did Wolverine beat Deathdream?). That said, there are intriguing moments with the developments at Graymalkin and the origin of The Hag to keep readers engaged. Plus, David Marquez's art is gorgeous.

Wolverine #1 gives you everything you want and expect in a Wolverine comic brutal fights, hard-hitting drama, lethal consequences, and a decent setup for a new threat. Further, Martn Cccolo's art is some of the best of any X-title right now. That said, the script relies too heavily on multiple coincidences to make the final fight happen, so Saladin Ahmed's strong moments are hindered by a lazy plot.

Daredevil #13 is a slow, repetitive, action-free issue that ends on a small high note. The art team does the best they can with an action-free script, but the plot is meandering at a snail's pace. It's clear Saladin Ahmed is padding the heck out of this arc to stretch it out, and the result is a dull read.

Exceptional X-Men #1 is not the worst or the best new X-title out of the From the Ashes era. Eve L. Ewing's turn on an X-Men title gives you all you need to know about Kitty Pryde's whereabouts with lots of emotion and introspection. That said, the issue lacks wow moments, the one action scene feels forced, and this first issue tells you almost nothing about where this series is headed or why it exists in the first place.

The Incredible Hulk #16 gives readers a small look into how the Eldest intends to use Hulk for its nefarious means. That said, a side trip into history doesn't help a series that's been floundering with a lack of direction, a lack of stakes, and a lack of excitement.

The Ultimates #4 addresses Doom's attempts to recreate the Ultimate Fantastic Four using a unique narrative structure and storytelling flow. The reading experience is certainly unique but in Deniz Camp's quest to do "something different, several plot questions are left unanswered. Likewise, Phil Noto pulls off a minor miracle in making Camp's script work visually, but the visual pop and creativity suffer as a result.

X-Force #2 is a good old-fashioned superhero comic that pits the team against the blossoming threat to the world. Geoffrey Throne's approach to episodic storytelling appears to be just the ticket to giving each team member a chance to shine, and Marcus To's art is excellent.

X-Men #3 is a noticeably improved issue over the previous two when Scott has a contentious meeting with a government agent while the Factory is invaded by a Shrike team. MacKay keeps the pace, scene transitions, and drama high while significantly elevating Scott Summers's badass status. Likewise, Ryan Stegman's weirdly inconsistent art from the first two issues has leveled out and improved.

Amazing Spider-Man #56 is a tentative return to form when Tombstone decides to reassert his dominance in NYC by killing Peter Parker and Spider-Man. Zeb Wells creates a tense, dramatic main story, but the backups are not much more than irritating filler. Is this issue worth the bloated cover price as a "milestone? No, but it's better than most of Wells's run, so take the crumbs that you can.

Deadpool Team-Up #1 sends Deadpool on a wild and somewhat random adventure to retrieve dragon eggs to get himself out of trouble. Rob LIefeld's art looks as good as ever, and the script is geared for wild fun from start to finish. That said, some of the plot developments range from mildly random to outrageously random, so it's best to turn off your brain before cracking the cover.

NYX #2 delivers a Luara Kinney-centric issue when she tracks down a masked gang "helping young mutants off the streets and into a safe space. Unfortunately, Lanzing and Kelly's script execution is riddled with poor transitions, characters that pop in and out from literally nowhere, and a jaw-droppingly bizarre ending. If it wasn't for the decent art by Francesco Mortarino, this comic would be a total loss.

Ultimate X-Men #6 brings the first arc to a close with the reveal of Shinobu's identity and the first battle of the Ultimate X-Men. Unfortunately, Shinobu's identity was guessable almost from the beginning, so the reveal has no impact, and the battle is little more than a playground tussle. What should be a big moment to end the arc barely elicits a mild shrug.

Get Fury #4 puts readers to sleep with an exposition and dialog-heavy issue that intermixes the fictional history of Nick Fury's former lover with real-life political maneuverings in Vietnam. Garth Ennis's script may be an Easter Egg-riddled dream for hardcore history fiction buffs. Still, typical readers hooked on the first issue will find the series has devolved into a boring over-explanation of useless details and little to show for it.

Namor #2 is an oddly uneven issue. Jason Aaron begins Namor's quest to bring peace to a fractured nation by witnessing the lows of the common folk and butting heads with one of the kings in a ritual contest that doesn't make much sense. Jason Aaron appears to be building out the complexity of the Seven Seas as an underwater Game of Thrones, but the ideas don't grab you. That said, the art is decent enough to keep your eyeballs engaged.

Phoenix #2 is a surprisingly solid continuation of the first issue, wherein Jean teams up with Corsair to investigate mysterious kidnappings. Stephanie Phillips's script works well for new and old X-readers, the mysteries are intriguing, and the art is generally excellent. But for a few shortcomings in the story and the art, Phoenix is turning out to be one of the better From The Ashes era titles.

Ultimate Spider-Man #8 marks the next in an increasingly disappointing series as Peter Parker spends the day at a birthday party while the Kingpin makes plans. If the goal was to get Earth-6160's heroes ready for the Maker's return, he's taking the slowest, least urgent road possible to get there. At $5 dollars per issue, Marvel can't afford to continue to waste the readers' time and money on a premium series that's treading water.

Wolverine: Revenge #1 takes a trip back in time for an untold tale about Wolverine joining a team to save the world from a devastating EMP blast. The timing is nostalgically cool, and the stakes are immense, but once Jonathan Hickman's mission starts, you're bombarded with deaths, actions, and character choices that don't make a lick of sense. Well, at least Greg Capullo's pencils look great.

Amazing Spider-Man #55 takes a break from nothing by sending Peter and Shay on a date. That's it. That's the whole issue. Zeb Wells's run may go down as one of the worst in Marvel history, and this issue cinches it. The issue earns two points for getting the printing, stapling, and credits page right.

The Ultimates #3 delivers a stand-alone issue that gives readers a full history of Earth-6160's version of She-Hulk. Deniz Camp's setup is thorough and engaging, with just a palatable hint of commentary about the real-life inspiration for this issue, and Juan Frigeri's art looks great. The overall series is still slow and treading water, but this is a solid one-off issue to introduce an interesting new variant character.

Vengeance Of The Moon Knight #8 doesn't have "Blood Hunt on the cover, but this issue mostly serves as a Blood Hunt epilogue to show readers what happens to the Midnight Mission during the climax of the Blood Hunt conflict. MacKay's script packs in all the emotion of a tearful reunion, and Devmalya Pramanik's guest art keeps the quality and visual consistency high. That said, there's not much meat to this issue beyond the Blood Hunt antics, so continuing readers get little more than a tease of what's to come.

X-Factor #1 attempts to look at the satirical side of e-celebrities and viral fame when an unscrupulous producer hires mutants to form a new X-Factor with disastrous results. Bob Quinn's art is immaculate, and Mark Russell is brave enough to show mutants with starkly different points of view about life after Krakoa. That said, the satirical elements and plot fall painfully flat, and the issue ends with a bait-and-switch that's just plain tiresome.

X-Men #2 is a strangely mediocre and forgettable comic because it ignores the cliffhanger from issue #1, doesn't set up the motivations for any of the characters, and presents it all with oddly inconsistent art. MacKay's chronic problems with forgettable villains are unavoidable in this issue, and the art can't decide if it's trying to be serious or silly.

Incredible Hulk #15 continues Hulk's long, slow trek to save Charlie by taking yet another detour to tell a side story that drags the slow pace of this series even slower. Phillip Kennedy Johnson has cool ideas, but this series is so far away from a Hulk story that it might as well be an indie comic.

Daredevil #12 continues the rinse & repeat arc of Daredevil facing off against a friend or foe possessed by one of the Seven Deadly Sins. All props go to Aaron Kuder's imaginative art, and in fairness, the fight is well done, but this arc has become tediously repetitive.

Doctor Strange #18 cements the idea that Doctor Doom is truly the Sorcerer Supreme for the time being. Confirmation is nice, but Doctor Strange is too important a character to be used as filler to take up shelf space. This issue, which ends MacKay's run, is a pointless waste.

Ultimate Black Panther #7 continues to tread water with great art and one or two interesting clues about the new element, but ultimately, this series is going nowhere fast. Bryan Hill is either out of ideas, or he's been told to hold steady for the Maker's return. Regardless of the reason, this issue is a waste of time.

Uncanny X-Men #1 almost gets the band back together in the first issue with heartfelt character moments and a scattered, unfocused plot. Gail Simone nails the characters' voices, and David Marquez's art is outstanding, but the issue feels more like a collection of random scenes of sadness than an adventure comic with a renewed purpose, and the pervasive shadow of Krakoa's passing lingers like the ghost of a deceased spouse who won't let the living move on.

Amazing Spider-Man #54 brings the Spider-Goblin saga to a close with solid art and an ending that feels final. Sadly, the script can't find a balance between drama and humor, the sci-mystical elements of the fight can't abide its rules consistently, and the net result reads like a comic that's a goofy mess.

Blood Hunt #5 ends a (too) massive Summer event on a mediocre note. The big battle is just okay, the outcomes are predictable, the plot is paper thin, and at least one twist you could see coming from a mile away. The saving grace of this event is Pepe Larraz's spectacular art, but on the whole, this ending and the event are forgettable.

Ultimate Spider-Man #7 is the strongest issue in the series so far because the plot takes center stage over the world- and character-building. Hickman delivers a feast of engaging character moments, action, intriguing teases, and the sense that this series is building toward something important. Plus, the art team's output is spectacular.

X-Force #1 forms a new team with a new mission stop world-ending threats in their tracks. Geoffrey Thorne's basic premise is truly basic yet effective, and Marcus To's artwork is outstanding. However, the dialog is tedious in spots, and new readers may feel left behind by the lack of setup and catchup.

Captain America #11 is chock full of interesting concepts and ideas about fate, prophecies, and destiny. That said, characters standing around and talking for thirty pages makes for a boring comic. The art is decent enough, and good ideas are present, but the listless pace and lack of action or urgency are killing this series.

NYX #1 starts a Ms. Marvel-centric book when Kamala Khan goes back to ESU and makes more than one mutant friend along the way. On paper, this series sounds like a perfect pitch to appeal to the YA crowd, but the nonsensical script is riddled with introductions that come out of nowhere, plot holes galore, heavy-handed social lecturing, and a villain reveal that's about as enthralling as reading the obituaries. Plus, the art team follows the rule of "make it look pretty, forget about making sense.

Ultimate Black Panther #6 is easily the worst issue in the series. Moon Knight's designs on Wakanda are escalating with extreme measures, but the story lacks basic motivations for the characters or urgency. People are doing things without direction and purpose, so all you have is a great-looking comic with stuff happening. Without the basics, all of it is meaningless.

Vengeance Of The Moon Knight #7 surprisingly turns out to be one of the better tie-ins to the Blood Hunt event. Not because it improves an event nobody is talking about, but because it upsets (and restores) the status quo in Moon Knight's mythology. Jed MacKay executes a plan that actually works, resulting in a big moment that will pull on your heartstrings, and the artwork is outstanding.

Namor #1 is an interesting start to a miniseries detailing the early life of Namor and how his upbringing led to his recent downfall and possible redemption. Jason Aaron's script isn't perfect, but the concept is interesting, and the art teams work well together.

The Incredible Hulk #14 is a confusing, disconnected, pointless mess of a comic. Nic Klein's surreal horror art is visually interesting, but this issue jumps out of nowhere, and either Phillip Kennedy Johnson or Marvel Editors have no idea where this story is going.

Phoenix #1 follows Jean Grey as she wanders the galaxy, solving problems only the Phoenix Force can handle. Stephanie Phillips does a fine job striking a balance between Jean's humanity and the Phoenix's omnipotence, giving both sides challenges equal to their potential. Miracolo's art is great, and the philosophical questions have potential. That said, it's unclear if the rest of the series can pay off the potential, especially when the last page cliffhanger is a head-scratcher.

Ultimate X-Men #5 picks up the pace, begins drawing the battlelines between the potential heroes and villains, and brings the title closer to something loosely resembling the X-Men. On the one hand, a higher pace and clear movement is a big step in the right direction for a title that's been treading water almost since issue #1. On the other hand, the leap from horror Manga to forming an X-Men team comes out of nowhere and feels both rushed and forced.

The Ultimates #2 cranks up the action but leaves sense at the door for a lengthy confrontation and villain monologue that reads like a barely disguised activist fetish about the evils of capitalism and America. The art is good, and the ending gets the team where they need to go, but readers will likely be annoyed rather than entertained.

X-Men #1 reforms the team on a base in Alaska to begin their new mission of rescuing mutants held by the remnants of Orchis and A.I.M. The change of venue away from Krakoa is a welcome relief, but the oddly paced plot, uneven art, head-scratching character choices, and weak villain will either put you off or make you forget you ever read it. X-Men #1 is not the strong start we hoped for in the new "From The Ashes era.

Doctor Strange #17 is certainly an imaginative way to end this two-part tie-in to Blood Hunt, but imagination unfettered isn't always a good thing. MacKay throws a whopper of a Deus ex machina at the wall to put all the toys back in the Marvel toy box, leaving you feeling impressed with the ballsiness of it and simultaneously let down by the silliness of it. Give bonus points to Pasqual Ferry for his excellent art.

Ultimate Black Panther #5 directs all eyes to the mysterious green orb with a demonstration of its power. Bryan Hill's story has intriguing moments, but the lack of clarity about the green orb diminishes the stakes, and the plodding pace promises this title will continue to tread water for months to come. This comic looks great, and there's a cool idea at its heart, but the arc is too slow, and the hook is too weak.

Amazing Spider-Man #52 looks fantastic, but it's a mess of a story that tries to convince the reader that a rehash of the Spider-Goblin concept is still interesting and that Kamala Khan was a pivotal character in Spider-Man's life for the last two years you just didn't know it. Zeb Wells manages to write a comic that combines all the worst bits of his tenure on the title in a single issue. The score reflects the amazing art quality alone.

Doctor Strange #16 is a perfectly decent tie-in issue to the Blood Hunt event, except for one glaring problem. The art is solid, and the entertainment factor is high enough to keep readers engaged, but the entire issue revolves around a plot point that doesn't make sense.

Ultimate Spider-Man #6 is the issue starving Spider-Man fans have been waiting for. Checchetto delivers the goods with fantastic character acting and art, and Hickman finally takes a break from interesting-yet-unnecessary world-building to give readers an adventure story that mixes action, heart, and intrigue. If it wasn't for a (probable) glaring goof between the art and the script, this would be a nearly perfect issue.

Blood Hunt #3 assembles the Avengers before splitting them into teams to tackle the vampire apocalypse on multiple fronts. Larraz's art is fantastic, but this story is almost all setup, posturing, and speeches that fail to build hype for whatever comes next.

The Incredible Hulk #13 delivers monsters, smashing, horrific gore, and (at last) a journey with purpose and direction. Phillip Kennedy Johnson has finally gotten off the monster-of-the-month hamster wheel to present a story that feels like it's going places, and Nic Klein returns to restore the series' art quality. Sadly, the momentum will take a hit when the series gets sidetracked with a Blood Hunt tie-in next month.

Ultimate X-Men #4 is a tighter, more action-packed script compared to the previous issues, but Peach Momoko's plot continues to meander in casual directions and is tonally and structurally inconsistent with the rest of the Ultimate universe. If the goal is the build up the Ultimate version of the X-Men in time to join the fight against the Maker in 18 months, Momoko's corner of Earth-6160 is severely at risk of getting left behind.

G.O.D.S. #8 brings the pseudo miniseries to a close by sending Wyn on a trip down memory lane to visit different points in his life, including the fallout from his battle with the In-Betweener (which we never see). Hickman proves he's still the most creative world-builder on Marvel's team, but readers looking for an actual story will only find unsatisfying snippets of scenes and ideas that could be developed into something more in the future.

Get Fury #2 drops Frank Castle behind enemy lines to complete his mission, but the higher-ups involved have a secret agenda that spells trouble for Castle and Fury. Ennis gives you an authentic, unsettling war drama, and the art team's presentation will shock you with scenes of death, but Ennis's conspiracy revelation, which reframes the point of the plot, fails to come together into a complete picture.

Amazing Spider-Man #51 is a mixed bag of visually appealing art and cool fight scenes, offset by tonally inconsistent writing and a rehashed plot concept that's less than a year old. Die-hard fans of ASM are already hanging on to this title by their fingernails, and this issue does nothing to give them a helping hand.

The Ultimates #1 is a perfectly serviceable introduction to get readers on board with the new Ultimates Universe, the heroes, their mission, the stakes, and the timeline. Frigeri's art is rock-solid, and Camp's script is technically, thoroughly proficient, but the story fails to deliver any emotional beats that give the reader a reason to care.

Midnight Sons: Blood Hunt #1 begins the 3-part tie-in to explain how the Midnight Sons reunite to confront their old teammate, Blade. Hill's script and Peralta's art are perfectly fine, and the story gets new readers on board with decent introductions to the Midnight Sons, but seasoned readers won't learn anything new about the team, and this first issue lacks urgency.

Spider-Boy #7 brings Madame Monstrosity's evil gene-splicing operation to an end with an Avengers raid against her secret lab. Slott's script brings the major conflict to a close while leaving several subplots open for more exploration, and Medina's art is bright and fun. That said, the exposition-heavy dialog feels unnatural, and the "memory loss plot point has overstayed its welcome.

Ultimate Spider-Man #5 is a fully realized, organic origin story explaining how Harry Osborn became the Green Goblin. The art team packs in all the drama they can, and Hickman is at the top of his game when it comes to world-building, but the net result is Ultimate-ly a dull comic with (again) no Spider-Man in sight.

The Immortal Thor #11 begins a new story with characters you've never heard of in supporting roles to rescue a character you've never heard of as a tie-in to another series whose story hasn't been told yet. Ewing's plodding pace gets even slower, and the guest artist's talents aren't up to Coccolo's work.

Blood Hunt #2 gives Earth's mightiest heroes a moment to counterpunch the Bloodcoven's sneak attack and regroup. Pepe Larraz's art is amazing, and big things are happening, but MacKay's plot is too shallow to let any moment or character develop beyond a quick scene, so the issue comes off as wholly forgettable.

Ultimate Black Panther #4 builds on the atmosphere of paranoia when assassins Moon Knight's assassins are found in the highest ranks of Wakanda. Unfortunately, the plot moves at a snail's pace, only saved by excellent visuals from the art team.

Final ThoughtsAmazing Spider-Man #50 is notable onlyin thatthe Green Goblin has returned, and Peter Parker's ability to fight himis severely hindered. Sadly, Goblin's returnis marredby a lack of setup, hand-waving explanations, and copy/paste plot devices.Getting the Goblin back isagoodthing, but his return deserved better writing than this.

Doom #1 is a surprisingly engaging, dramatic, and entertaining comic about Dr. Doom facing the greatest threat to the universe alone. Hickman's fondness for cosmically-oriented situations hits a sweet spot, and Greene's eclectic art style looks great.

Ultimate X-Men #3 continues to be one of the most baffling creative endeavors Marvel has released in recent years. A creator is tasked with creating an Ultimate X-Men comic, but instead, produces a manga with a glacially slow plot that has almost nothing to do with the Ultimates or the X-Men. There's no reason for this comic to exist.

Amazing Spider-Man: Blood Hunt #1 delivers plenty of action, drama, great art, and mysterious developments that hint at one or more conspiracies at work supporting the vampire apocalypse. Unfortunately, several character appearances and plot points either happen off-panel or aren't explained at all, which makes the reading experience unsatisfying.

Captain America is weird, surreal, and dull. You'd think a Cap adventure that puts him in the middle of a war between Life and Death would be more energetic, but Straczynski is overly focused on dialog with hidden meanings, strange plot occurrences, and subdued pacing.

Daredevil #9 is a frustrating, unsatisfying issue. The Seven Deadly Sins storyline is on the back burner. Ahmed takes a few shortcuts to re-establish Matt's relationship with Foggy and make Kingpin a viable presence despite his activity with the X-Men. The whole series appears to be going nowhere fast when you consider all plots are on hold until the tie-ins with Blood Hunt finish, so the planning for this title is a mess.

Amazing Spider-Man #49 ties into the Blood Hunt event with a mildly entertaining side adventure. The art is decent enough, and Spidey learns a valuable lesson about treating vampires like people, too. However, the story contributes nothing to the Blood Hunt plot, so non-ASM regulars can skip it.

Doctor Strange #15 properly continues the Blood Hunt event by taking Doctor Strange off the field (but not really) to make the heroes' challenge even more impossible to overcome. The clues surrounding Blade's sudden turn are intriguing, and MacKay's pace holds your attention, so if you want a Blood Hunt tie-in that matters, this is a good pick.

Fantastic Four #20 is a mildly amusing, one-shot that's heavy on sitcom antics but devoid of anything remotely approaching a superhero comic. If you're in the mood for entertaining fluff, Ryan North has you covered, but if you want a Fantastic Four comic that actually has superhero adventures, you may be waiting a while.

Blood Hunt #1 kicks off Marvel'smajorevent for 2024 with high stakes,bigaction, and a decisive sneak attack that creates a seemingly impossible challenge for the heroes. That said, the almost total lack of setup is weird. Clues that have supposedlybeen plantedin other titles meant nothing, and the big bad is an out-of-the-blue surprise that makes little sense given the Master's recent activities. Blood Hunt looksgreatand feels big, but the sloppiness in details and setup results in a mixed bag.

Get Fury #1 is a barebones, gritty, ugly, gruesome war comic that weaves a tale about two famous Marvel characters intersecting on the field of battle. Ennis delivers a comic that chooses to show war as ugly as it truly is without the glamour or glory, and the art team brings the violence to vivid life.

The Incredible Hulk #12 thankfully takes a break from the monster-of-the-month model when Hulk visits Strange Academy for mystical help. The story developments lead to gobs of potential consequences for Hulk, and Nic Klein's return to art duties is a breath of fresh air.

Invincible Iron Man #18 forces Feilong to switch sides when the Orchis tables turn in an issue brimming with corny quips, outdated pop culture references, and odd recharacterization of established characters. The art looks great, and things are moving, but this issue feels like everything wrong with the MCU Phase 4.

Vengeance Of The Moon Knight #5 brings the mystery of the “new” Moon Knight to a close with a fight, stern words, and hugsall around, just in time to send the Shroud into fits to kick off the Blood Hunt event. The art team's work in this issue is breathtaking, and all the characters get their moment in the spotlight, but ultimately, this issue fails to address the mostimportantquestion – Why have a Moon Knight miniseries without a Moon Knight?

Blade #10 ends the Adana, the arc, and Bryan Hill's tenure on the series with the most generic, underwhelming finale possible. Casagrande's art is solid, and in fairness, the ending is complete, but the ending only works if you accept the uber-strong threat of the Adana has suddenly become a basic demon that can be struck down with a sword.

Daredevil #8 celebrates Horn Head's 60th Anniversary with an 80-page anthology froman assortment ofwriters, including a continuation of the main title. Ironically, the least of these is the main story unveiling the mastermind behind the Heat, but overall, this is a serviceable read.

Amazing Spider-Man #48 delivers a blink-and-you'll-miss-it setup and resolution to the fight over the Winkler Device. The motivations for almost every character except Spidey and Betty are implausible at best, and the overall conflict lacks weight. If not for Todd Nauck's excellent art, this issue would be a forgettable throwaway.

G.O.D.S. #7 puts the conflict with the In-Betweener on pause for a side story about Dimitri fulfilling a personal quest. In isolation, this isa perfectly good story that tells you everything you want to know about Dimitri and his life to this point. In context, the urgent conflict involving the In-Betweener is at a standstill when only one issue is left to tell that story. This does not bode well for the finale.

Ultimate Spider-Man #4 takes a bizarrely unexpected turn in the series with a subzero cooldown issue that's nothing but four people engaging in pilot conversation during a dinner date. Messina's art isperfectly good, and in fairness, Hickman's dialog talents are excellent, but this comic fits theverydefinition of pointless.

Giant-Size Hulk #1 gives readers a new story hair-thin plot that just gives Hulk an excuse to smash yet another forgettable monster. The second half is a reprint of a much better Hulk story. If all you want in a Giant-Size Hulk comic is mindless smashing and nostalgia bait, get this comic. For everyone else, skip it. Points were reduced for the shameless cash grab.

Spider-Boy #6 elevates Madame Monstrosity as a shrewd and clever villain, and then immediately undoes that character's work with wacky shenanigans that do nothing but fill pages with silliness. The art is solid, and the ending keeps Bailey moving in the right direction, but this issue is a mixed bag.

Spectacular Spider-Men #2 is marked by great art, great action, and an intriguing mystery at its heart. However, the script is overshadowed by too many scenes, chaotically placed, which leaves you feeling like it was meant to be read while scrolling through Twitter (or X or whatever they call it these days).

Ultimate Black Panther #3 finally begins to deliver on the promise of the premise by showing readers a unique development near Wakanda that could make Vibranium look like kid stuff. On technical execution, the script is rock solid, but the pacing and lack of wow factor result in a tepid comic with potential.

Fantastic Four #19 ignores the events of issue #18 in favor of a cooldown Elseworlds-ish issue that puts Alicia Masters at the heart of a detective noir mystery. In and of itself, the issue is fine as a novel time waster, and the art is solid, but North continues to keep this ongoing series rudderless.

The Incredible Hulk #11 acts as a highlight for the series by presenting one of the most fleshed-out and intriguing monsters for Hulk to smash since the beginning. That said, the rinse-and-repeat cycle of smashing one new monster after another has grown tediously repetitive, and the cycle of guest artists fails to live up to Nic Klein's work from the beginning of the series.

Invincible Iron Man #17 takes all the plot development over the last six months or more and chucks it out the window in favor of a lazy, disjointed, out-of-nowhere twist that forces Tony's story to “support” a nonsensical Orchis plot twist in the X-Men titles. Zircher's art is perfectly good, and there are some exciting action moments, but this issue is largely a miss.

Amazing Spider-Man #47 boasts a few intriguing developments, a sweet date, and a follow-up to the Hobgoblin debacle from earlier in Wells's run. That said, the mostly action-free issue keeps hinting at a mystery without expanding on it, and the trio team-up of Queen Goblin, Chasm, and Hallow's Eve lacks gravitas or drama.

Ultimate X-Men #2 continues the creepy, atmospheric Manga horror tale about a schoolgirl confronted by a dangerous shadow figure connected to a schoolmate's death. Fans of Manga Horror may find this extreme take on the X-Men a refreshing change, but readers looking to make the connection between this title and the greater Ultimate universe or anything remotely resembling an X-Men comic (in story and art) will be left wanting.

Captain America #8 drops Cap in the middle of a literal fight between Life and Death for the fate of the world. Straczynski's supernatural plot may not fit a typical Cap story, but it's a rousing comic nonetheless, and the art looks great.

Doctor Strange #14 brings the faux-D&D adventure to a close with flashy visuals, dragon fights, and a clever resolution to the battle. That said, Doctor Strange makes several questionable choices that seem out of character, and at least two of the Secret Defenders are useless in the final analysis.

The Immortal Thor #9 takes a jarring left turn from epic poem storytelling into a meta commentary railing against corporations, consumerism, and Marvel itself. Some readers may find Ewing's allegorical points intriguing, but the the net result is a muddy reading experience.

Deadpool #1 gives readers plenty of action, but Ziglar misses the boat by delivering a Deadpool who is more sarcastic sadsack than the Merc with a Mouth. Deadpool's personality sets him apart, so missing out on what makes Deadpool special, building the story on Alyssa Wong's fatally flawed run, makes this issue feel like a non-starter.

Spider-Man: Shadow Of The Green Goblin #1 is a loving homage to the early years of Spider-Man's career, with great art and excellent character moments. That said, the first two-thirds of this issue is a lengthy recap and summary of familiar information for Spider-Man fans, so seasoned readers may find themselves tuning out.

Vengeance Of The Moon Knight #4 delivers powerful art and finally gets to the bottom of the imposter Moon Knight's identity. The technical execution of the writing is well done, but the time-wasting therapy gimmick has overstayed its welcome, and the imposter's identity lands with a shrug.

Daredevil #7 sets up and takes down the next Deadly Sin on Daredevil's journey with a brutal, almost-issue-long fight. That said, the setup to make the fight possible and the semi-religious way it ends feel contrived and a tad lazy.

G.O.D.S. #6 forces Aiko to deal with the consequences of her destructive action toward Mia with a whimsical-yet-edgy journey to meet with the most powerful forces of magic in Marvel. The technical execution is on-point, and the art looks fantastic, but Hickman's over-attention to world-building and character moments leaves little time to build out an actual story with only two issues left to go.

The Incredible Hulk #10 takes the slow road to nowhere with a poorly-pace, actionless issue that only serves to get Hulk from point A to point B. The monster-of-the-month model has overstayed its welcome, and the guest art in this issue is subpar.

Ultimate Spider-Man #3 lacks the urgency and “responsibility” that makes up the soul of a Spider-Man comic. However, what the issue lacks is adequately made up for with fantastic art, immaculate character- and world-building, and an intriguing plot. You won't be blown away by this issue, but you'll enjoy it.

Blade #9 does exactly what a penultimate issue should do – establish the stakes and set the stage for an impossible-to-win battle. Hill's latest issue gives the arc badly-needed purpose and direction, and the art is solid.

Fantastic Four #18 is yet another botched attempt by Ryan North to make science cool by wrapping a half-baked adventure story around an ill-presented science lesson. The concept of making science cool by using a “fantastic” application is noble, but the execution falls abysmally short.

Spider-Boy #5 goes a long way toward furthering Bailey's conflict with Madam Monstrosity, giving the young hero some emotional depth, and using the backup to enhance the main story. But for a boneheaded creative decision in the plot, this is an otherwise solid issue in both writing and art.

Black Panther #10 practically sprints to the finish line in T'Challa's conflict with a soul-sucking demon. The art is intricate to a fault, and the broader plot points are quickly resolved, but the need to rush due to cancelation is apparent, leaving a slapdash and unsatisfying conclusion.

Vengeance Of The Moon Knight #3 gives Soldier solid character work, and the last-scene development has possibilities. However, nothing of note happens in this issue, and MacKay neglects to stoke the flames of the “new” Moon Knight's mystery identity.

Amazing Spider-Man delivers a post-Gang War cooldown issue to tie up loose ends, some of which started in ASM and some in other titles, to set the stage for the return of Green Goblin. The character interactions are nice, but the lack of meat on the plot and the lack of setup for Aunt Anna leave a bland aftertaste.

The Immortal Thor #8 slowly moves the plot forward with all the pomp and circumstance of a funeral dirge. To Ewing's credit, Thor's adventure feels grand in scope and scale, but simple questions with simple answers reveal themselves too slowly to hold anyone's attention.

Ultimate Black Panther #2 is a rock-solid Black Panther comic with political intrigue, action, drama, and superhero goodness. That said, the promise of the premise to create a new Black Panther in the Maker's utopian universe feels too much like the regular Black Panther to stand on its own as unique and separate.

Captain America #7 kicks off a new adventure that draws Cap much deeper into the mystical side of the Marvel universe. The art and story feel like a Sandman story from DC, but in this case, that might be a good thing,

Doctor Strange #13 continues Jed MacKay's bizarre habit of starting new adventures before completing the previous ones, with Doctor Strange enlisting a new Secret Defenders to battle the Marvel version of Jumanji. Still, the team dynamic is mildly amusing, particularly via Taskmaster, whose been (it seems) permanently demoted to comic relief, and Ferry's fantasy artwork is solid.

The Spectacular Spider-Men #1 (mostly) accomplishes what it sets out to do by pairing Peter Parker and Miles Morales together as civilian friends and costumed superheroes. The character work is outstanding, and Ramos's artwork is spot-on, but the pacing takes a severe hit with unrelated scenes and ping-pong shifts between “Then” and “Now.”

Ultimate X-Men #1 takes the concept of “a different take on the superheroes you thought you knew” to an extreme with a Manga-inspired horror story that looks and reads like a comic from Viz rather than Marvel. Momoko's character work and atmosphere hit the nail on the head for a horror Manga, but the story is so far removed from every other Marvel Ultimate title, that it almost feels out of place.

The Immortal Thor #7 reads and feels like a story from classic Viking mythology, but the slow pacing and lack of meaning coming out of this issue signals an arc that's better left to the trades at a reduced price.

Invincible Iron Man #15 confirms the series was designed to do little else than show Tony Stark and Feilong duke it out in giant mech suits. If you're into robo-fighting action, you're in for a treat. If, however, you were hoping the last fourteen issues were meaningful and necessary, I have bad news for you.

Amazing Spider-Man #44 brings the Gang War “event” to a close with the deciding battle in Central Park to establish the new top gangster in NYC. Unfortunately, the battle is mindless, Spider-Man is barely a factor in the outcome, and the mountain of tie-ins turns out to be pointless. Wells and Lowe have turned in worse events, but Gang War fails to be anything more than forgettable.

Spider-Boy #4 is one of the better issues in the series because it introduces a mysterious villain, delivers a fair amount of age-appropriate drama, and plants intriguing seeds for what comes next. Still, Slott has a bad habit of reframing decent villains as jokes, which kills the hero vibe of the book, so better falls short of great.

Daredevil #6 continues Father Matthew's fight against the Seven Deadly Sins by forcing him to accept why they're attacking in the first place. The answer just might whelm you. That said, Kuder's surreal art is strong, Daredevil's white armor makes a return appearance, and the next victim of possession arrives for a solid cliffhanger.

G.O.D.S. #5 puts the brakes on the In-Betweener's reality-destroying plans for Wyn and Mia to make a magical errand. Mia's character growth is the highlight of this series, and the rollercoaster of emotions she experiences in this issue is thoroughly engaging, but Hickman's lackadaisical plot development is starting to wear thin.

The Incredible Hulk #9 feels like the start of a record stuck on repeat. Phillip Kennedy Johnson moves Banner and Charlie to New Orleans against any form of common sense, and the monster-of-the-month model gets even more confusing when the monster they encounter appears by coincidence. Either Johnson never had a story to tell, or he's biding his time on the title until something better comes along.

Ultimate Spider-Man #2 significantly improves over the first issue by putting more focus on Peter Parker as he tries, fails, and tries again to figure out how to be a superhero. Hickman wisely balances the wonder of a person getting superpowers with the maturity of an older man who thinks before he acts. That said, the second draw of this series is the Parker family and they still aren't given much exposure or anything to do, which is a bummer.

Amazing Spider-Man #43 delivers the action goods in the penultimate entry to the Gang War event. The action is fast-paced, energetic, and exciting. That said, Spider-Man is barely a side character in this event, so readers who aren't fully invested in the success or failure of Beetle and Madame Masque will be left unsatisfied.

Black Panther #9 serves up big answers to most of the major, lingering questions about Kivu'Ma and the disappearing citizens of Birnin T'Chaka. Ewing finally gets around to creating a clear plot with decent art, engaging reveals, and solid pacing, but the cancellation next month confirms why you can't waste time at $3.99.

Blade #8 finds the titular Daywalker stumbling upon another potential aid to defeating the Adana. Casagrande's art depicting Hell is imaginative, and the new addition to the team is a surprising twist, but Hill's path to defeating Adana feels like Blade is stumbling around in the dark.

Vengeance Of The Moon Knight #2 delivers solid character work, strings along an interesting mystery concerning the new Moon Knight's identity, and presents visually amazing art. That said, readers may feel shortchanged with the lack of Moon Knight in favor of another Dr. Sterman therapy session.

Captain America #6 brings the fight against Asmoday and the Emissary to a close with fast-paced action and a tight conclusion that sets up (demonic) trouble to come. That said, too much of this title is taken up with Young Steve Rogers's adventure in the past, which turns out to have no appreciable importance to the Captain's adventure in the present.

Doctor Strange #12 is the second cooldown issue in a row and a Bats-centric story to portend things to come. Readers who are Bats fans will get plenty of time with the ghostly pup, but the story barely qualifies as a prelude to announcing the return of a villain. If you read the spoilers in this issue, you'll get everything you'll need to know about what's coming and can save what you would have wasted on the cover price.

Fantastic Four #17 takes Reed and Sue on a time-traveling adventure to solve the mystery of Sue's “death” in the ancient past. The time travel aspects, a clever invention of non-verbal communication, and the art are all on point, but Ryan North keeps forgetting to shore up plot holes that sabotage his writing.

Ultimate Black Panther #1 is the first introduction of the Ultimates version of the character to longtime Ultimates fans. Hill's script is tight, dramatic, and fueled by the onset of war, and Caselli's art, including the new suit, looks fantastic. That said, the point of Ultimates is to create a fresh spin on an old character. On that point, Hill doesn't deliver.

The Incredible Hulk #8 is a fine example of Hulk smashing with incredible art. That said, Phillip Kennedy Johnson's tenure has fallen into a rut, repeating the same story over and over. Eventually, the monster of the month approach stops becoming entertaining, and this series has reached that point.

Spider-Boy #3 aggressively chases the YA readers with two kid-friendly stories about Bailey's adventures reintegrating into an Earth that doesn't remember him. The tone and style of each tale are certainly appropriate for younger readers, but Slott tries too hard to be relatable, resulting in a corny, eye-rolling set of adventures.

G.O.D.S. #4 slowly but surely transitions the series from pure character- and world-building into a story with an actual plot and stakes. If Hickman keeps going where it looks like he's going, this series could have reality-ending consequences on a bigger scale than one we've seen in some time. Plus, Schiti's art goes a long way toward keeping Hickman's higher concepts grounded and accessible.

Immortal Thor #6 looks great, sounds great, and immerses you in a tale that reads like an epic poem from Viking lore. Unfortunately, the overwritten dialog and glacial pacing make the reading experience a bit of a bore.

Power Pack: Into The Storm #1 returns to the pint-sized super team's roots with an intergalactic adventure set in the early days of the team. Simonson and Brigman remind longtime fans why the team was a hit, and the art is great, but the script plows through a lot of setup, world-building, and exposition in a rush.

Punisher #3 introduces two cool villains for the price of one, but the fast-paced, action-packed issue lacks setup, so it feels like a lot of throwaway action just to get to the next thing. The action is well done, and Fearmaster's design looks great, but this issue acts as an incidental side quest, which shouldn't be happening in issue #3 for a new character.

Black Panther #8 continues the slow crawl toward an uncertain destination. A Monet St. Croix cameo adds little value to the mystery, things happen that don't appear to relate to the plot, and Ewing wastes too much time on character and world-building through conversations and self-reflection. At some point, this story needs to get moving.

Fantastic Four #16 is a strange way to kick off the next volume in the series because you get a Fantastic Four-free issue focused on the kids' first day of school in a new state. Ryan North's strategy of creating a thin story wrapped around a science lesson doesn't quite work because the science is poorly presented, but at least the kids are amusing in a fish-out-of-water kind of way.

Amazing Spider-Man #42 delivers an action-less setup issue that clears out the lesser gangs to move into the Gang War semi-finals, culminating in a showdown in Central Park. The dialog-only issue is interesting enough, and the story is finally picking up steam, but the big battle ahead is led by two C-tier villains that nobody cares about, making it difficult to care about the outcome either way.

Daredevil #5 takes a break from the serious tone for an amusing episode that finds She-Hulk and Daredevil confronting Gluttony. Ahmed's technical execution is on point, and Karami's art looks fantastic, especially for She-Hulk, but the pacing of the arc is becoming increasingly uneven.

Invincible Iron Man #14 delivers an Ironheart/Forge-centric issue that realigns Riri's status quo and sets up the forthcoming O-Day attack. The Mysterium Armada looks good, possibly hinting at a Voltron-style capability, and seeds are planted for the battle to come, but Tony Stark barely appears in his comic, which makes this issue feel like a shoehorned opportunity to sloppily reset Ironheart.

White Widow #3 is, to be blunt, a stupid comic. None of the characters' actions, dialog, or thoughts appear to come from a person with a functioning brain, the plot is a convoluted mess, and Gailey is trying very hard to mimic MCU Phase 4 humor in a satire about corporate greed and healthcare. This comic is a waste of your time and lessens the titular character.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Ultimate Spider-Man #1 is a bizarre way to kick off an ongoing series that has sky-high expectations on it. To be clear, the story Hickman presents is masterfully written in terms of establishing the characters and status quo of this alternate universe, and Checchetto's art is stellar. However, I doubt anyone expected a Spider-Man comic without Spider-Man and a story that spends almost all of its time focused on Ben Parker.

Amazing Spider-Man #41 commences a new gang battle on two fronts when Tombstone fights Wilson Fisk while Beetle (Tombstone's daughter) fights the Rose (Fisk's son). There's plenty of brawling action to get your blood pumping, and the fight appears to be heading towards some consequences, but Wells's bad habit of injecting humor at the wrong time puts a damper on the dramatic tension.

Captain America #5 increases the past/present parallels and the urgency when mass murder plots draw closer to execution. Straczynski gives new and seasoned readers plenty of reason to admire Cap as a true blue hero, and the art team does a respectable job in a dialog-heavy issue, but the lack of connection between past and present is starting to feel like a waste.

Doctor Strange #11 delivers a cooldown issue wherein Strange and Clea have their hands full during a babysitting assignment gone wrong. MacKay's story is amusing without being jokey, and the guest artist on assignment turns in an excellent set of visuals.

Fantastic Four #15 is a frustrating read. North's insistence on introducing a new scientific or philosophical concept in each issue only works when you put in the work to make the concept viable within the context of an engaging story. Issue #15 doesn't make the concept viable and barely makes the story engaging, leaving readers with a half-finished reading experience that only works to set up some conflict down the road.

Vengeance Of The Moon Knight #1 has one big wow moment that matters (the “new” Moon Knight in a new costume), but the issue is largely a waste to get to the last page. Unless you have a deep need to know how Reese and Tigra are dealing with their grief, you could skip this issue and not miss anything. Recommended for speculators only for the new costume reveal.

Black Panther #7 takes the slow train to find out who's behind the simmering gang war and the disappearances and makes it slower by sending T'Challa on a cultural tour of Biti to get in touch with the people. Ewing earns high marks for the expansive world-building in a fictional city, but after seven issues, the plot is barely formed, and T'Challa is still in information-gathering mode.

Timeless #1 (2023) brings the big action for a future fight to save the world from extinction. Lanzing and Kelly set up a scenario that feels world-ending, and Juann Cabal's art is fantastic. Plus, you get plenty of teases about forthcoming storylines. That said, this issue is nothing more than a big fight with very little plot to back it up.

Amazing Spider-Man #40 is energetic, action-packed chaos from start to finish. Wells successfully created a scenario that feels big in scale to keep the heroes racing from one fight to the next, but the size lacks depth because we have no connection to most of the gangs or their importance in the grand scheme.

Astonishing Iceman #5 ends as well as could be expected with energetic fights, an explosive end to the conflict, and a baffling new status quo for Iceman. It seems odd that Orlando would choose to grant Iceman a new power that mirrors one of the chief problems of the Krakoan era, but at least it's over.

Doctor Strange #10 brings the 10-issue arc to a close with a climactic battle that ends General Strange's vendetta in the most fitting way possible from a hero who is also a doctor. MacKay's concept of defeating the villain through healing sounds uninteresting on paper, but the script makes it work, and Pasqual Ferry's whimsical visuals add just the punch needed for a satisfying finale.

GODS #3 tries very hard to be esoteric, high-concept, and fancy, but the end result is visually engaging, energetic, and often tedious or confusing. I appreciate that Hickman is trying to build out an entire mystical side to the Marvel Universe, but fancy weirdness should never come at the expense of clarity or entertainment.

Blade #6 gives readers what should be a cataclysmic meeting between two enemies but delivers an issue devoid of dramatic tension or wow moments. Blade does what he sets out to do, and Hill does give Blade a level-up, but the overall issue falls flat.

Captain America #4 delivers a solid yet mundane entry in the series as young Steve's life is about to encounter a Nazi terrorist plot, and Cap in the present has his first encounter with Asmoday's Emissary. The art and writing are technically executed well, and the plot's direction is taking shape, but the comic lacks something to get excited about.

The Immortal Thor #5 ends the first arc in Al Ewing's run with a suitably epic battle to save the world. Ewing's resolution to the Toranos problem is clever, and the art team's delivery looks as epic as it should.

Moon Knight #30 brings Marc Specter's latest adventure (and his life) to a close with a gripping and surprisingly emotional finale. MacKay gives Moon Knight a fitting death for a hero of his stature, and the art team's output is outstanding.

Punisher #2 delivers a tried and true Punisher story, which is both positive and negative. On the positive side, the scenario, the art, and the character work feel like an authentic Punisher comic. On the negative side, Joe Garrison may as well be a Frank Castle clone because nothing about this version of Punisher sets him apart, including the plot.

White Widow #2 takes everything you dislike about the MCU Phase 4 and cranks it up to 11 with terrible “I don't know how to speak human” humor, a conflict that doesn't fit the world, and an antagonist that doesn't make sense. If you're pinching your pennies, this is the comic to skip.

Alpha Flight #5 takes the hard path in the finale to show that there are no winners in war. Brisson is one of the few writers treating the Orchis threat with the seriousness, urgency, and drama it deserves, and the art team's visuals look great.

Amazing Spider-Man #39 is a surprisingly decent action comic. Wells pits Spider-Man and his allies against an assortment of Gangs across NYC, and the strategic maneuverings by the Gang leaders behind the scenes are intriguing. Wells may have gotten this event off to a rocky start, but this issue shows promise.

Daredevil #4 leans heavily on the action, light on Father Matthew's exploits as the head of an orphanage, and completely away from the mystery of Father Matthew's resurrection. On the whole, the issue is relatively entertaining simply for the action, but the lingering mysteries don't have enough clues or punch to hold your attention.

Fantastic Four #14 is an unfortunate step backward in a story about a villain who can influence the future. North unwisely puts the science lesson before the adventure (again) with a heavy-handed message about the dangers of tech billionaires. The art, however, looks great.

Amazing Spider-Man: Gang War First Strike #1 lights the fuse that ignites the forthcoming Gang War event with plenty of plot progression, surprises, and action. That said, the story is riddled with plot holes and shortcuts that undercut the quality of the story, so you get the impression the creators rushed to get to the war without thinking through how they got there.

Captain America #3 is a thoroughly crafted issue that sets the stage for you Steve's experience with Nazis in the past and the parallels to a murder mystery in the future. Unfortunately, this issue has too many extraneous scenes explaining why the Nazis are bad, which drags the pacing to a crawl.

Moon Knight #29 keeps up the edge-pf-your-seat pacing from the previous issue as Moon Knight fights his way up the Mount to stop Black Spectre's doomsday device. There's plenty of action and urgency to pull you along, but some surprise twists are overcomplicated or silly.

Amazing Spider-Man #38 mercifully puts an end to Rek-Rap's adventure against Re-Po. The story is silly (not in a positive way) and relegates Spider-Man to a sidekick in his comic. Meanwhile, the prelude scenes meant to generate hype for the forthcoming Gang War event are as energetic as a news report about the weather.

The Incredible Hulk #6 starts another mini-monster-arc to keep Banner and Charlie on their toes as they trek through the lonely roads of the American Southwest. Johnson keeps the proceedings interesting by introducing a new Spirit of Vengeance (that isn't Ghost Rider), and Nic Klein's art looks great. That said, the over-arching plot concerning the Eldest is at a complete standstill.

Invincible Iron Man #12 almost scuttles Iron Man's plans by shoehorning in an unnecessary appearance by Riri Williams. The mess Riri creates works out in the end, but her inclusion and subsequent battle would have been avoided if Tony had made a better choice, which is a terrible observation to make about a character who should be one of the smartest heroes in Marvel.

Sensational She-Hulk #2 leans so hard into the slice-of-life model that there's nothing in this issue resembling a plot, direction, message, or point. You'll probably get more entertainment and less strain on your wallet by going to the mall and watching people walk by.

Alpha Flight sets up an uncertain finale with a penultimate issue steeped in tragedy and disastrous outcomes. Godlewski's art is great, and Brisson's technical execution is solid, but the story lacks emotional punch or weight, so the setup heading into the finale feels hollow.

Astonishing Iceman #4 nearly repeats the same plot from the first three issues but throws in a final twist to give the illusion that Steve Orlando had more story than a one-shot in mind. The action is fun, and the last-page twist at least moves the story in a new direction, but the issue is largely a waste of time and money.

Blade #5 makes a bizarre time jump to skip the conclusion of the first arc and begins an epilogue to set up the next arc. Truly, you'll feel like you missed an issue in between, but it's not you. Whatever strategy Hill was going for, it didn't pay off.

Immortal Thor #4 is all setup and flash for the sake of assembling a new team (the Thor Corps), but there's no meat on this bone. The art is great, and Thor's recruitment choices make sense, but this issue amounts to little more than a prologue.

Black Panther #6 kills what little pacing and momentum the series had coming out of issue #5 for an issue-long flashback to tell the backstory we have yet to see in the story so far. The flashback is well done, but the timing, pacing, and length of the flashback are poorly placed.

Daredevil #3 cranks up Daredevil's fight against a new gang in town and saddles Matt with new challenges when his priority for caretaking St. Nick's is tested. In isolation, Ahmed is delivering a classic Daredevil story, but too many questions from the first issue are ignored.

Fantastic Four #13 concludes the interdimensional dino adventure with a Doom plot that spells doom for the universe. North's action/adventure plot is excellent (barring a glaring plot hole), and Coello's art looks fantastic (barring a glaring character design problem).

Amazing Spider-Man #37 sets up a mildly intriguing mystery but weighs the issue down in impressively corny humor, little action, and a prelude to the Gang War crossover that fails to generate an ounce of momentum or anticipation.

GODS #2 takes a considerable step up from issue #1 when Aiko goes on a recruiting drive to refill the ranks after the battle with Cubisk Core. Adding Mia as a possible recruit to serve as the audience surrogate opens up an entire universe to the reader with fresh eyes and a sense of wonder. Plus, Schiti's art looks great.

Punisher #1 is a weird comic because it tells almost the same origin story as Frank Castle's Punisher with a different man. There's nothing different about Joe Garrison's Punisher to set him apart from Frank Castle except his name and a slightly different costume. Considering the original is still alive and kicking, there's no point to this comic.

Doctor Strange #9 continues Jed MacKay's most entertaining run in any comic to date, with a hero pushed past his limits and a villain who exceeds him. The magical action is exciting, and the art looks great, plus the cliffhanger has loads of anticipation built in.

Spider-Boy #1 is a serviceable solo offering to get readers on board with the latest Spider-Man spinoff character. Slott's main story suffers from an identity crisis because it's a kids' story written in an adult context, so it tries to please everyone without appealing fully to anyone. Ironically, the exorbitant cover price is justified by a backup story (also by Slott) that looks and feels like it could work for little kids.

Ultimate Universe #1 is a significant improvement over Ultimate Invasion in terms of clarity, focus, urgency, and purpose. Hickman is building a new universe that feels familiar but stands apart to tell new stories without the burden of Earth-616 continuity, and the art looks great.

White Widow #1 is a disappointing miss. At the heart of the story is an intriguing mystery, but Sarah Gailey's characterization of Yelena Balova is so bizarrely wrong and off-putting that you can't get into the plot. It's clear from this issue that Gailey's interpretation of White Widow is a “silly, cutesy assassin who can't relate to people.” That's a rookie mistake Marvel should have nipped in the bud.

Alpha Flight #3 is one of the few X-titles that continues to treat the Orchis threat with urgency and seriousness. That said, this issue feels more like a setup/transition issue by creating bubbling tension without delivering at least one wow moment.

Ms. Marvel: The New Mutant #3 keeps the focus on Kamala as a wholesome, sweet, likable character, but the Orchis plot and execution combine for a plot-holed riddled mess. Once a certain new character appears on the page, that appearance all but confirms there's no point to this mini other than to give Kamala her Disney+ powers.

Amazing Spider-Man #36 forgets everything that happened in the last arc and kicks off a silly, jokey team-up adventure with Spider-Man and Rek-Rap to stop a big threat only Rek-Rap can find. The humor only works in one or two spots, the lack of follow-up (especially for Norman) is bizarre, and the brief scene between Silvermane and Hammerhead to set up the coming Gang War event leads you to believe Gang War is going to turn out as well as Dark Web.

Captain America #2 covers a lot of ground in three plots to weave Steve's actions in the past (before he was Captain America) with a growing evil in the present. That said, the overall reading experience is a little overstuffed, and the one plot concerning Steve in the present is the least interesting aspect of this comic.

Immortal Thor #3 takes the foot off the gas in Thor's struggle to stop Toranos before the giant makes it back to Earth. The narrative looks, sounds, and feels like an Epic poem from centuries ago, but unfortunately, the pacing takes a big hit compared to the previous issues.

Astonishing Iceman #3 bizarrely recycles the identical plot from the first two issues to pit Iceman against an Orchis thug in a bid to find Iceman's hiding place. The art is great, and the Iceman construct is likable enough (Is he really alive?), but the plot is egregiously stuck on rinse & repeat.

Moon Knight #28 infuses the meandering series with big stakes, energy, and urgency in the penultimate issue, leading to the showdown with Black Spectre (and maybe Moon Knight's death). MacKay's script gets all the heroes and villains in place for maximum impact, and the art has plenty of engaging panel angles, but the villain is forgettable, and the pencils/inks look rushed.

Daredevil #2 gives the returning Daredevil two new challenges to tackle, but the challenges feel small and inconsequential compared to the prospect of a pending demon attack. Technically, the issue is solidly constructed, but the central theme just isn't that interesting or exciting.

The Incredible Hulk #5 shifts away from the repetition of the monster-of-the-month model to give attention to the Eldest and fill out Hulk's motivation in his ongoing struggle with Banner. Johnson's story is well-written and ups the anticipation level for where the series is headed, and Foreman's art is a bit better than the last issue.

The Invincible Iron Man #11 is a serviceable, bland issue that gets Mysterium in Tony's hands without any surprises or dramatic tension. If all you get out of this issue is that Tony now has Mysterium, you could skip it and not miss a thing.

The Sensational She-Hulk #1 continues the exact same story with the exact same creative team from the previously canceled run to deliver a directionless, unfunny, slice-of-life comic. If you liked the previous arc, this is more of the same. Points were deducted for Marvel's shameless renumbering scheme.

Amazing Spider-Man #35 brings the third-best copy of “Kraven's Last Hunt” to a close with a decent fight, and everyone returns to their status quo. This arc has no message, neither the characters nor the world changed, and the net effect is a mediocre time filler.

Blade #4 is a standard, predictable next step in Blade's quest to take down Adana. The art's super and the action is energetic, but the utter predictability of the outcome neuters any excitement.

Guardians Of The Galaxy #7 enters the next phase of Grootfall's development with a new status quo for the Guardians, new promises of galactic conflict, and better potential. Lanzing and Kelly, despite a rocky 6-issue start, seem to have found their footing, and I'm interested to see where the story goes next.

Moon Knight: City Of The Dead #4 abandons the child trafficking plot to get back to a standard chase to save Khalil in a perfectly serviceable issue. Admittedly, Moon Knight gets a rare opportunity for character growth, but the overall quest has outlived its potential.

Black Panther #5 is a boring, convoluted mess with great art. Ewing is spending so much time creating the Wakandan version of Gotham City in minute detail that the too-large list of characters and multiple, disjointed plots don't get enough attention.

Doctor Strange #8 takes a step back on the pacing and epicness of General Strange's plan to reignite war. Clea's plan is dangerous but hastily executed, and Ferry's art is amazing. However, it's the last-minute arrival of Doctor Strange that steals the show.

Fantastic Four #12 eases back on the clunky (sometimes incorrect) science lesson for a fun story about the dino-Avengers from an alternate universe. The plot is clean, clear, and entertaining, and the last-page cliffhanger is solid. Coello's art is, likewise, excellent except for a bizarre change to Ben's head.

Blade #3 continues to impress. Bryan Hill presents a Blade that's a spiritual successor in every way to Wesley Snipes's badass rendition, the story is getting more interesting by the minute, and the cool, slick art is not your typical Marvel fare.

The Immortal Thor#2 smites thee with big action, epic storytelling, and a clever plot that takes Thor out of commission and sets Loki down a sneaky path. Ewing is treating the god of thunder with respect befitting his title, and the art team's visuals are fantastic.

Invincible Iron Man #10 presents the much-advertised wedding between Tony and Emma in a story that extends their covert operation into new and somewhat amusing directions. The wedding is contrived as heck, but it makes sense for the story Duggan's telling, and surprisingly, Emma and Tony make for an interesting couple. Marvel made a bigger deal out of the wedding than it deserves, but the story has potential for what Emma and Tony can do together.

Moon Knight: City Of The Dead #3 sprints from one scene to the next for Moon Knight and Scarlet Scarab to escape capture, fight villains, save Khalil, get captured again, escape again, and fight a kaiju. Pepose rushes the heroes from point A to B, shortchanging a few scenes in the process, so you get where you need to go, even if the journey is too frantic to enjoy it.

Ms. Marvel: The New Mutant #2 is where the cracks in the writing team's inexperience show. The creators are trying to blend a slice-of-life/YA comic with the Hellfire Gala fallout, but the tonal mix just doesn't work. You can't go from playing video games in a sleepover to an Orchis drone hunt and have the story make sense.

Storm #5 brings the period piece to a close as Rogue and Storm put Blowback through a trial to get the truth and send him packing. Despite the relatively clean ending, most of the development surrounding Blowback never gets the attention needed to fully explain the character, so the main villain at the heart of the main mystery winds up being a convenient contrivance, leading to an unsatisfying ending.

Ultimate Invasion #4 looks great, but it's a mess. Hickman tries to get fancy with Time and Reality in the Maker's bid to create a Utopia in opposition to Kang, but the plot gets lost in the shuffle halfway through. Truly, I can't describe exactly what happened, so if the goal was to lead into and get hyped for future Ultimates stories by Hickman, this mini-series missed the mark.

Deadpool: Badder Blood #4 wraps up Deadpool's fight with Arcata and Killville, confirming the fight with Arcata and Killville had no purpose other than as an excuse to force a team-up. If you're reading this just for the art, you're golden. If you want a well-constructed story to go with your art, look elsewhere.

Guardians Of The Galaxy #6 finally gets to the meat of the mystery about Grootfall with solid art and an interesting premise. Unfortunately, the latter half of the issue tries to get existential and fancy but only achieves convoluted nonsense with an unclear resolution.

Alpha Flight #2 feels the most like a Hellfire Gala aftermath book by creating tension through urgency as the team races to secretly evacuate mutants from Canada (and Earth) before they're caught. Equal parts superhero comic and wartime thriller, this series is surprisingly captivating.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Captain America #1 hits you right in the heartstrings with a simple yet powerful accounting of why Steve Rogers deserves to be the first Avenger. Straczynski's character work is phenomenal, and Saiz's art nails all the emotional beats.

Astonishing Iceman #2 is a bargain basic issue that's formulaic, missing any drama or tension, and serves only to show you Bobby Drake is great and loves his boyfriend. When you factor in that Iceman is technically not alive, the issue takes on a perverse tone with only Vincenzo Carrat's art to make it worth the effort to read.

Daredevil #1 is a solid start to Saladin Ahmed's run on the title as Matt Murdock's quiet life after hell suddenly takes a demonic turn. Matt's resurrection question is intriguing (almost too much so), and that looks great. If Ahmed can pay off the resurrection question quickly and satisfactorily, this series will be off to a great start.

The Incredible Hulk #4 visits the balmy state of Florida to confront Hulk with two monsters for the price of one. Banner's contentious relationship with Charlie is the high point of the writing, and the new monster is super creepy, but Johnson doesn't incorporate enough information about the Eldest to keep the arc moving, and the guest artist's style is a step down in quality.

Werewolf By Night #1 brings the chills, thrills, and monsterific fun in time to kick off the Halloween season. Derek Landy's story is solid from front to back, and Fran Galn's art style adds a storybook charm to the visuals.

Black Panther #4 delivers some cool Black Panther vs. Deathlok action and stunning art throughout, but the plot barely moves an inch on a mystery that isn't well-developed or interesting.

Doctor Strange #7 may be the strongest issue in MacKay's run to date as General Strange enters the public stage to make his intentions known with a killer introduction. Technically, this is a setup issue, but the writing and art combine to kick off one heck of a challenge for Doctor Strange.

Amazing Spider-Man #33 replays a modern version of Kraven's Last Hunt with Spidey and Kraven II in reversed roles for a decently intense comic. Gleason's art is on point, and the issue ends with a strong cliffhanger. That said, this issue is an almost point-for-point remake of Kraven's Last Hunt, so you're better off reading the original, superior version.

Fantastic Four #11 is the first issue in Ryan North's run where he successfully delivers a science experiment object lesson wrapped in an FF adventure. The experiment makes sense for Ben's predicament and shows that North can communicate scientific concepts as long as he doesn't get too complicated.

GODS #1 is a mildly entertaining, beautifully rendered magical adventure that expands the mystical side of the Marvel universe with a charismatic lead in Wyn. Unfortunately, the issue is too long, doesn't deliver enough meat for the cover price, and effectively turns Wyn into a Doctor Strange clone. GODS #1 is a fine one-shot, but Hickman didn't do enough to get Wyn to stand out or apart.

Moon Knight #27 is a great comic from front to back, primarily because it does two things exceptionally well. First, it makes creative use of a useless (and gross) villain from early in MacKay's run, and second, MacKay fits multiple pieces together from the entirety of his run to unveil a plan with massive implications for MK. Elevated by outstanding art from Sabbatini and Rosenberg, this is one of the best issues in MacKay's run.

Danny Ketch: Ghost Rider #4 brings the nostalgic mini-series to a brisk close as Howard Mackie rifles through the scenes to sprint across the finish line. Each scene is technically complete, but there's no time to develop drama, emotion, or tension.

Deadpool: Badder Blood #3 is a bizarre mix of random scenes with random cameos that fill out pages to give Rob Liefeld an excuse to draw cool stuff. If you pick up this issue strictly for the visuals, it's money well spent. If you looking for a story underneath the noise, you may want to wait for the inevitable trade or skip this arc altogether.

Blade #2 slows down the pace on the hunt for Adana to fulfill a side quest to rescue a mystical arms dealer who just may have the weapon Blade is looking for. Bryan Hill's mood, atmosphere, and personality for Blade are on-point, and the art looks great, but the urgency to find Adana takes a noticeable dip.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Ms. Marvel: The New Mutant #1 catches up with Kamala Khan after her resurrection and life change to start a new chapter as a college freshman while secretly spying on Orchis for the X-Men. Despite a plethora of unanswered questions and plot holes leading up to this first issue, Vellani and Prizada present a spunky Ms. Marvel with heart, charm, and an age-appropriate awkwardness that readers may find endearing. That said, there's not a drop of dramatic tension or urgency considering Kamala's situation, and the entire comic reads and looks technically proficient but safe and mildly dull.

Ultimate Invasion #3 is either setting readers up for a shocking surprise in the next and final issue or a red flag that the hailed return by Hickman to the Ultimates is a bait-and-switch. Hitch does his best to make an issue-long series of exposition conversations look interesting, but I've got a bad feeling about how this mini-series will end.

Moon Knight: City of the Dead #2 sets up a solid team-up between Moon Knight and Scarlet Scarab, and turns the hunt for Khalil's soul into a mission to stop an insidious child trafficking ring. The stakes take a big step up compared to the first issue, and the gritty action looks great, but the rules of the City of the Dead aren't clear, so you don't know to what extent Moon Knight is in genuine danger.

Planet Of The Apes #5 ends the flawed series with the least imaginable chapter possible – a “ripped from the headlines” take on the January 6th protests in Washington D.C. In every way possible, Walker and Marvel misunderstood why the Apes franchise has lasted so long, and Marvel's new 20th Century may never recover.

Storm #4 uses a dialog-heavy issue to reveal major swaths of Blowback's identity and the mystery surrounding its arrival. The character work is better, and the dialog is better, but the art is still average, and the plot/plan surrounding Blowback is unnecessarily convoluted.

Invincible Iron Man #9 wrestles with the fallout of the Hellfire Gala but refocuses on Tony Stark at one of his lowest points ever. The “let's break Tony” trope is becoming tiresome, but credit to Duggan for making it smart, interesting, and painful. Double kudos to Frigeri for gritty, emotional art.

Amazing Spider-Man #32 goes back to the well (again) for another villain trying to get Norman to revert to his Green Goblin ways. This time Kraven II gets in on the act to top his father's greatest hunt, and the accidental slip at the end leads to intriguing possibilities. The art looks great, and the idea has merit, so it's up to Wells to pay off the concept… for once.

Black Panther #3 clears away the distractions and focuses on the task at hand by teaming Black Panther with Beisa to find out which crime family is behind a string of disappearances as an advent to a mob war. The script is tighter and focused, and the art is good. That said, it's painfully obvious Ewing is writing a Batman story in a Wakandan wrapper.

Captain America Finale #1 ends the series as a perfect encapsulation of the series as a whole a little bit of good, a little bit of silly, and a whole lot of uneven mediocrity in between. Carnero's art is the clear highlight of the finale, and the ending ties up most of the loose ends, but it's time to move on to bigger and better things.

Deadpool #10 brings the series and Alyssa Wong's time on the character to a close with an uncharacteristically decent finale. The tone, wit, humor, and sweetness that made issue #1 a surprise came back just in time to say goodbye. That said, it's clear Wong was never a good fit for the character, so it's time to say farewell and move on.

The Immortal Thor #1 swings for the fences with an epic tale in tone, scale, and atmosphere to deliver a Thor tale worthy of Asgard. Ewing goes all in by taking the material, and Thor, seriously with a realm-destroying threat, and the art is amazing.

Alpha Flight #1 piggybacks off the events of 2023's Hellfire Gala to explore how Canada's newly re-formed super team is tasked with protecting their citizens from the “mutant threat.” Brisson's take on the team is consistent with their history, and using the mutant dilemma as an excuse to bring the team back to the fore is a smart play. I'm not sure where this story is headed, but I like what I see so far.

Daredevil #14 takes a breather from the end of the last arc to let Daredevil's friends and loved ones grieve and remember in their own ways. Zdarsky piles on heaps of emotional beats to give Dardevil's death weight, but the pacing and energy take a dip as a result.

Spider-Man #11 tells you almost everything you need to know about Baily, aka Spider-Boy, in preparation for his forthcoming solo title. However, Dan Slott fills in all the blanks in the laziest, most basic, perfunctory, lifeless way possible to deliver a primer that may as well have been written by A.I.

Guardians of the Galaxy #5 is a comic about nothing. The plot could be summarized as the Guardians flying to crash into Grootfall while an irrelevant space battle happens in the background. Nothing of substance happens, so give Kev Walker credit for trying to make nothing look interesting, but this truly is a comic about nothing.

Spider-Man Annual #1 begins the Contest of Chaos crossover with a contrived fight, a nonsensical plot, and terrible dialog. Whatever the goal of this issue, the net result is a dumb waste of time.

Amazing Spider-Man #31 delivers bachelor/bachelorette party shenanigans and a disrupted wedding for a comic that's too expensive, has too many pointless backups, and barely manages to setup a new arc. Marvel is asking for too much and giving too little in return on this one.

Amazing Spider-Man Annual #1 (2023) repeats last year's annual by turning in a jokey, silly story about nothing when Hallows' Eve tries to break Ben Reilly out of NYC's demon embassy prison. The slapstick tone and cartoonish art are fine in isolation but strangely out of place for the main title. The backup serves as a potentially interesting epilogue to this year's Hellfire Gala, but it gets the details of the Gala wrong.

Astonishing Iceman #1 is an Iceman comic in name only when the Iceman you think you get is not the Iceman you really get, and when you learn who the Iceman you get really is, the less you want that Iceman to be what he really is. It's weird, it's creepy, it's gross, it's probably not suitable for kids, and it's completely unnecessary.

Doctor Strange #6 finally does two things sorely lacking in this series. First, it introduces a memorable villain worthy of facing Doctor Strange. Second, it adds much-needed momentum to a floundering series. This issue is the best of MacKay's run so far.

Fantastic Four #10 borrows a classic sci-fi idea to tell a one-shot about aliens stuck in time and space while strange visitors move at a very slow rate of speed. The sci-fi concept (relative time) creates an interesting drama, and the art team gets the job done.

Moon Knight #26 takes a break from the Black Spectre arc, deflating the arc's momentum in the process, to catch up with Hunter's Moon and his struggles since his last resurrection. Hunter's Moon's update is interesting, and the art is solid, but this update didn't need a whole issue.

Storm #3 finally delivers worthwhile intrigue and classically inspired art for the best issue in the run so far. That said, the dialog is painfully stiff, and Kitty's personality seems radically off.

X-Men Hellfire Gala 2023 #1 makes the Red Wedding from Game of Thrones look like a family spat during the Holidays. The assault on Krakoa is massive, intricate, and effective. For once, it feels like there are true consequences of death for the mutants, something that's been missing since the start of the Krakoa era. It's impossible to guess where mutant-kind goes from here, but this just may be the shakeup the X-Office needed. Oh, this is also the comic where Ms. Marvel comes back to life, and it's as contrived and rushed as you could imagine.

Amazing Spider-Man #30 is filled with great art and big action, but Zeb Wells can't figure out when to be jokey or when to be serious, leading to a tonal mess of a comic. Further, Norman's tearful speech about Kamala Khan comes off as a heavy-handed retcon that feels more insulting than emotional.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Danny Ketch: Ghost Rider #3 packs a mountain of a story in a single issue to bring the heroes together, escalate the stakes, deliver supernatural action, and move everyone into position for next month's finale. The amount of plot movement leads to a rushed feeling, but the plot is solid.

Deadpool #9 completes the penultimate issue in the Atelier arc (and Alyssa Wong's run) to a flat finish with interesting fights, solid art, and at least one surprise, but the overall plot lack drama, and Deadpool's escape scene is embarrassingly contrived.

Hellcat #5 ends the mini-series with big drama and big reveals, but the net result (sorta) makes everything Hellcat's fault and leaves Hellcat in a worse place than when she started. If the goal was to turn readers into new fans of Hellcat so they'd want to read more, Cantwell didn't understand the homework assignment.

The Incredible Hulk #2 (2023) delivers plenty of excellent horror visuals, plenty of horror atmosphere, and gobs of potential as Hulk finds himself the target of Marvel's supernatural forces. That said, the brisk pace from issue #1 slams on the brakes in issue #2 for a comic that's more style than substance.

The Invincible Iron Man #8 delivers heaps of armored action, but the plot suffers from half-measures by acting as an ad hoc tie-in to the events of Krakoa and the Hellfire Gala without fully committing to the tie-in. As a result, you constantly feel like you only get half the story, punctuated by stellar armor fights.

She-Hulk #15 is a ridiculous finale that speeds through the conflict to only finish part of the attack on Manhattan. The primary villain is barely set up in a hurry, and She-Hulk's only contribution to the finale is a hasty call to her boyfriend for help. The word “rushed” barely covers how terrible this ending turned out, and rebooting the title in the Fall with the same creative team bodes poorly for She-Hulk fans who deserve better.

Ultimate Invasion #2 takes a peak at the Maker's utopian society on Earth-6160, right before variant Avengers from the future arrive to kill him. The art is fantastic, and Hickman's sci-fi elements are certainly creative, but Hickman delivers more confusing questions than answers, which damages the satisfaction level.

Black Panther #2 (2023) continues the deep exploration of Wakanda's street-level life, but the more texture Ewing gives to the picture, the more it looks like Ewing is writing a dull Batman story in Gotham with a thin coat of Wakandan paint. The art team is doing their best to keep the visuals interesting, but the story is too slow and too boring to hold your attention.

Blade #1 does exactly what it needs to do for a new series starring Marvel's resident monster hunter. The story is simple-yet-effective, Blade is in top action form as a killer, and the new villain presents as an intimidating threat.

Deadpool: Badder Blood #2 gives you plenty of Deadpool action, and some of the best art of Liefeld's career, but the issue lacks setup and feels like a completely new story starts out of nowhere. The issue looks great, but readers may be more confused than entertained.

Guardians of the Galaxy #4 is effectively one long scene that shows you what Rocket's been up to for the last three issues. There are some strong emotional beats when Rocket feels Groot's loss, but you don't learn much about Grootfall or make any progress on the plot.

Moon Knight: City of the Dead #1 sends Moon Knight on a journey to the Underworld to save a boy's soul. There are copious amounts of big, loud action and obstacles to hinder Moon Knight's quest, but the volume of noise crowds out what amounts to a super simple plot, making for a frequently tedious read.

Amazing Spider-Man is a step in the right direction for Spidey with a few twists, stakes (for Norman Osborn), and potential. Wells can't help injecting an unnecessarily jokey tone that diminishes the dramatic atmosphere, but the plot is starting to take shape into something possibly worth reading.

Fallen Friend: The Death Of Ms. Marvel #1 begins the slow, deliberate process of mourning Kamal Khan through a collection of partial scenes and vignettes of widely- and hardly-known characters gathering to grieve. Each chapter centers on a different group of characters in Kamala's life, but the comic as a whole doesn't have anything to say.

Moon Knight #25 gives readers plenty of great art and a solid story in a quadruple-sized issue (counting the backup). That said, the story is just okay, underscoring this series's inability to create memorable villains or moments.

Planet of the Apes #4 finally gives POTA fans what they want – smart, evolved, formidable apes. Unfortunately, the boost this issue provides comes much too late in the miseries and only comes through a too-much-to-believe contrivance in the form of a super-powerful terrorist group.

In Fantastic Four #9, Ryan North continues to be his own worst enemy by taking simple fights and simple ideas and making them more complicated than they need to be in an effort to make this comic needlessly profound. The art looks great, and the action reflects the kind of big battle excitement you want in an FF comic, but the issue is weighed down by silly execution and ponderous pacing.

Spider-Man #10 brings the brand new character, Spider-Boy, to the forefront while Spider-Man fights with his Spidey-Sense on the fritz. The action is typically good for a Spider-Man comic, the art is fine, and the resolution makes sense, but if you're only in it to get to know Spider-Boy, you'll get plenty of insight, both good and bad.

Captain America #750 is an odd mix of stories to end one run, set up the penultimate issue in another, and add a few shorts for good measure. Ultimately, you get a mixed bag of quality in storytelling themes, several aggressive pushes to qualify Sam as a worthy Captain (without addressing the Falcon problem), and generally good art.

Clobberin' Time #5 brings the wildly weird time-traveling adventure to a close with big action set pieces, an uptick in humor, and a mostly satisfying conclusion.

Daredevil #13 takes the phrase “go big or go home” to heart with a massive fight in the pit of Hell to save Daredevil's friends. The writing and art are beyond reproach, and the ending sets an impossibly high bar heading into the finale.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Spider-Man #28 is a semi-serious, forgettable, and sometimes silly time-waster to take your mind off the horrendous death of Kamala Khan. Doc Ock's upgrade has interesting threat potential, but JJJ is written bizarrely out of character, and the setup is somewhat ridiculous.

Captain America: Sentinel Of Liberty #14 ends the series and the creative team's involvement with two plot threads that start a story that will never be finished. Sam Wilson is depressed, and Joaquin might be given an untested cure. Ultimately, there is no point in this issue.

Deadpool #8 has an interesting idea at its core about tricking Deadpool into thinking his world is suddenly different. Unfortunately, the idea winds up being a poorly-executed distraction for the issue's lack of story, and the more you think about it, the less this issue makes sense.

She-Hulk #14 picks up the pace slightly in She-Hulk's will they/ won't they relationship with Scoundrel until she finds out what his thievery has led to. The art team does a fine job with what little they have to work with, and the emotional beats are strong, but as the penultimate issue in the series, it falls short of building momentum for the finale.

Storm #2 is a tough read because characters are written with oddly miscast personalities to justify actions and attitudes that don't make sense. If you can't believe the characters, you can't believe the characters' actions, words, or motivations, and the whole issue falls apart.

Ghost Rider #2 delivers another solid issue with old enemies coming back to cause trouble with enhanced powers and deadly stakes to keep the Rider on his toes. That said, the story is clear but a bit too busy in spots, so the main plot gets lost in the noise.

Bloodline: Daughter of Blade #5 ends as well as it could for a Buffy the Vampire Slayer knockoff with awkward character work, truly awful dialog, and YA-grade art that doesn't fit the characters or situation. The plot threads are wrapped up neatly with a happy ending, but the quality of this mini-series never managed to achieve minimum Marvel standards.

Guardians of the Galaxy #3 gives readers a tidbit about the nature of Grootfall during a contrived Royal Hunt, which is more information that readers got out of the previous two issues. The issue as a whole is weird, but a small clue is better than no clue. Still, the lack of entertainment or answers, tips the scales away from satisfying to frustrating, making this series an increasingly tough sell.

Hellcat #4 delivers oodles of exposition and dialog to answer every question but one – who killed Spalding? Still, the volume of answers and explanations is enough to make this issue reasonably satisfying, even if it isn't particularly riveting or entertaining.

The Incredible Hulk #1 builds on the previous couple of runs to establish Banner, once again, as a lonely traveler avoiding contact with humanity. This time, malignant monsters from ancient times want Hulk's body for their own purpose, making for an intriguing new setup. Readers who want their monsters to be scary will have a lot to like in this issue, but the plot leans a little too heavily on the existential aspects of the previous runs, which sets a high barrier for new readers to get hooked.

Ultimate Invasion #1 delivers a fast-paced, action-packed, intriguing story that could have ramifications that affect the entire universe. The stakes are huge, but the plot is super-simple, and the art is fantastic. That said, Marvel justifies the higher cover price with more pages, but too many pages are BTS sketches and blanks, which makes the comic overpriced for what you get.

Doctor Strange #4 takes a second breather issue in a row to show readers all they ever wanted to know about the Agents of WAND. Despite the lack of Doctor Strange in his own title (he only appears in the last panel), this issue serves as a good primer for WAND fans. That said, Marvel is either going through massive retooling for this series, or MacKay doesn't have a Doctor Strange story to tell and is simply treading water.

Moon Knight #24 sends Moon Knight down a rabbit hole of blissful dreams and nightmares to hunt for the dream-manipulating Morpheus. The surreal scenes intentionally create a disorienting feeling, and readers finally get the name of the mastermind behind Moon Knight's recent trouble. That said, the issue is a little too confusing in the beginning due to the lack of setup, and the art gets lost in some of the darker panels.

Clobberin' Time #4 unveils Psychopomps' grand plan to establish him as a universe-ending threat. The plan is creative, and the general art and writing execution are good, but the style of the art doesn't match the tone of this issue as well as it did in the previous chapters.

Planet of the Apes #3 reads like a setup/breather issue with a collection of partial scenes, flashbacks, and a backup that don't appear to have any meaningful connection to the main story and only serve to provide context and background information. Yet again, the apes are given the least amount of page space in a Planet of the Apes comic, which is a bizarre choice.

However good or bad you thought the Cold War "event finale was going to be, you're wrong. Captain America: Cold War Omega #1 is an absolute trainwreck with fantastic art encumbered by a nonsensical, convoluted, boneheaded conclusion. Save your money.

Cosmic Ghost Rider #4 dispenses with the teases to reveal the entire mystery surrounding the second Rider's identity. Unfortunately, the reveal is a bizarre (and convenient) explanation that shifts the series into a humorous tone that doesn't fit the previous issues. The art looks great, but any urgency or anticipation going into the finale has fallen flat.

Amazing Spider-Man #27 is Zeb Wells's opportunity to make the consequences of Ms. Marvel's death meaningful and get the series back on track. Sadly, Wells falls short of both goals by making Kamala's death a cheap plot device for Peter and Norman's feelings, and the overall tone of the comic is a bizarre mix of seriousness and jokiness.

Black Panther #1 starts a new chapter in T'Challa's legend with an issue that builds an amazing amount of texture and detail into the less-frequented corners of Wakanda. However, this issue is almost all exposition and setup with very little action or Black Panther to show for it, resulting in a detailed but ultimately dull comic.

The Invincible Iron Man #7 finally gets this series of its lackadaisical butt to deliver meaningful action, stakes, important reveals, and dire consequences. Duggan's writing is on-point, and the art looks great.

Spider-Man #9 is a serviceable issue that forces Spidey to contend with his out-of-control Spider-Sense. The premise and action are great, and the cliffhanger against Electro has potential, but Spidey's trademark quippy-ness is awful, and Spider-Boy's obnoxious cameo is a drag.

Captain America: Sentinel of Liberty #13 delivers the penultimate chapter in the Cold War event with an issue that invalidates previous actions and jams a collection of disconnected, random scenes together without explanation or sense. At best, this issue is a time waster to get to the finale.

Daredevil #12 sets Matt Murdock on a road to Hell, and the results are memorable. It's unclear how Zdarsky plans to wrap up his run on the Man Without Fear, but the setup for the forthcoming finale is turning out to be a wild ride.

Deadpool: Badder Blood #1 picks up Deadpool's race to save Thumper from himself with exciting action, a lightning-quick pace, and trademark Liefeld art. That said, the stiff dialog hinders the reading experience enough to bring down the enjoyment factor.

Fantastic Four #8 is a mild improvement over the previous issue but still too far away to be considered a worthy run for Marvel's first family. The formulaic Scooby Doo mystery in a small town is becoming repetitive, characters take random actions without explanation, and the pacing in this issue is terribly uneven.

Captain America: Symbol of Truth #13 is an issue-long fight that tries to duplicate the gravitas of Cap and Iron Man's conflict in Civil War but falls miles short. The art looks great, and if you just want to see the Captains fight, you may enjoy this comic. However, Onyebuchi's nonsensical character choices and Silva's wonky fight choreography make this issue a miss.

Clobberin' Time #3 rolls up its sleeves and gets down to the business of telling a “serious” time-traveling adventure that partners Thing with Dr. Strange. Unfortunately, the time travel explanation surrounding Ogdu (the thief) doesn't quite work, and the highlights from issues #1 and #2 (fun and humor) are greatly reduced.

Deadpool #7 concludes date night with energetic fights, terrible humor, and a main character who has almost no agency in his own comic. The longer this series continues in this state, the less reason Deadpool fans will have to keep reading.

Doctor Strange #3 takes a break from an arc that's barely started to have Strange take a day with Dormammu to reminisce about old times. The art is gorgeous, and the story works well as a one-shot, but taking a break from a plot that's barely begun suggests MacKay doesn't know where he's going with this series.

Punisher #12 brings Jason Aaron's run, and the character's presence in Marvel, to a close with a thoughtful and quiet ending to the Punisher's war. The character moments are surprisingly mature, and the art continues to maintain the high quality offered in issue #1, but readers looking for the Punisher to go out with a big bang may find this ending anti-climactic.

Spider-Man 2099: Dark Genesis #5 brings the mini-series to a close with more 2099 variants and a fiery end to Carnage 2099. There's plenty of action and character development for popcorn fun, but the paper-thin plot and mildly cartoony art don't bring anything special to the titular character.

Amazing Spider-Man #26 is an embarrassing failure for the ASM creative team, Marvel editorial, and everyone that had a hand in the “What Did Peter Do?” arc. It would be different if Wells swung for the fences to push for new, bold directions, but instead, we get a basic fight with an inconsequential death and a lot of annoyances that don't get unresolved. Loyal Marvel readers deserve better. A lot better.

Daredevil & Echo #1 kicks off a horror mystery about an ancient evil waiting to emerge from the bowels of Hell's Kitchen. Taboo & B. Earl have an interesting concept on their hands, and Phil Noto's art looks good, but this single issue tries to do too much at once, so the plot feels rushed.

Hellcat #3 is not a good comic. There are too many subplots designed to add texture but lack substance, and the dialog-heavy issue relies too much upon quid-pro-quo exchanges between characters that ultimately lead nowhere. Couple the tedious writing with just serviceable art, and you wind up with a comic that's a chore to read.

Spider-Man 2099: Dark Genesis #4 is a disappointment on multiple levels. Steve Orlando's script takes minor steps forward on the plot but takes a few steps backward by focusing (again) on introducing more 2099 variants that serve no purpose, and Justin Mason's art looks rushed and incomplete in several spots.

Storm #1 is a stormy issue to get through. Terribly stiff dialog, a script that's almost all setup with very little plot during an established period in X-Men history, and art that's passable in some spots and amateurish in others. If Marvel intended to give Storm a moment to shine in her own series, the forecast calls for gloomy with a good chance of disappointment.

Bloodline: Daughter of Blade #4 is a mediocre comic with sub-par art, a predictable plot, and a main character trying too hard to be a third-rate Buffy knockoff. Marvel missed the mark on this one.

Captain America: Sentinel of Liberty #12 delivers plenty of solid fighting action, good dialog, and quality art to bring the Captains closer to Dimension Z. That said, the omnipotent Outer Circle is suddenly showing cracks under the pressure, which feels like a contrived convenience.

Danny Ketch: Ghost Rider #1 is a straightforward and super-effective re-introduction to the second Ghost Rider, Danny Ketch. Howard Mackie's script is on point at every level, and the art is very strong.

Fantastic Four #7 looks great and has a few amusing moments during the family interactions, but the plot is a jumble of ideas that don't make sense. Ryan North has ideas with potential, but so far in this series, he's unable to make those ideas work in a logical or cohesive story.

Guardians of the Galaxy #2 is filled with excellent character-building and great art, but the plot is essentially a repeat of the first issue, and the big wow moment from #1 (Grootfall) gets no development at all.

Hulk Annual #1 (2023) delivers a Hulk horror story in found-footage style to give readers a fresh take on monster Marvel stories. The found-footage aspects are well done, and the art is decent enough, but for a Hulk annual, there's precious little Hulk in the entire issue.

Planet of the Apes #2 is a respectable improvement over issue #1 as readers get more time with the rapidly evolving apes and little scenes tease how the simians become poised to take over. That said, too much time is spent building up an impossible-to-believe boogeyman in the Exercitus Viri, so the issue still falls short of the source material.

She-Hulk #13 switches gears (again) and dives head first into a will they/ won't they romance comic that works surprisingly well. The writing execution hits all the right notes for a tension-filled romance, and the art is excellent.

Spider-Man 2099: Dark Genesis #3 finally gets away from the carousel of 2099 variant character introductions and focuses on the plot. This issue delivers plenty of superhero fighting action and gives the main hero a challenge to overcome, but when you peel back the layers, the plot is super-thin.

Amazing Spider-Man #25 tells Mary Jane's side of the story after she was separated from Peter on an alternate Earth. Presented almost entirely as a montage-filled flashback, the bits of information we get only clarify what we already know. If you're looking to be shocked and awed, you'll have to wait until the next issue.

Cosmic Ghost Rider #3 contains solid sci-fi art and memorable characters, but the central mystery isn't compelling, so it's becoming a struggle to care about what happens in this comic.

Daredevil #11 puts a cap on Daredevil's failed reign as leader of the Fist with a cooldown issue that's light on action but heavy on drama, consequences, and pain. Zdarsky earns big bonus points for pushing the characters to new places in their canon, and the art is gorgeous.

I Am Iron Man #3 contains tons of heart sure to pull at your heartstrings just in time for Mother's Day, and the art is excellent. That said, the plot is a confusing mess up to the halfway mark, and after the mystery is clarified, the confusion is replaced by massive plot holes.

The Invincible Iron Man #6 takes a break from the glacially-paced conflict with Feilong to take a trip back to the Silver Centurion days when Iron Man had a run-in with Emma Frost. The Silver Centurion armor looks great, and Tony's fight against a crowd of Spider-Man villains is fun, but this issue appears to serve no purpose other than to provide context for a conflict that will happen in another title in the future.

Silk #1 continues from the previous arc with Cindy Moon trapped in a neverending dream. The concept is novel, albeit unoriginal, and the art is strong, but there's nothing in this issue that grabs your attention.

Spider-Man 2099: Dark Genesis #2 takes the same approach as the previous mini by using the series as an excuse to introduce more 2099 variants into the Marvel universe. However, Orlando does a much better job this time. The story has stakes and good pacing with an overall sense of direction. That said, the art teeters on just average, and editorial mistakes are embarrassingly noticeable.

Moon Knight #2 teams up the titular hero with Venom to stop a gang of mercenaries and to hunt down the audio-hypnotist causing havoc. The pacing and action are fun, and the art is stellar, but the story's lack of urgency and motivation makes this issue forgettable.

Spider-Man #8 gets the series back to basics, with a Spider-Man getting back to the business of saving the day until he feels his efforts aren't enough. Peter's experiment has interesting story implications, and the overall technical execution (writing and art) is an improvement, but Slott's characterization of Spidey feels outdated, and Spider-Boy's random appearances have outworn their welcome.

Spider-Man 2099: Dark Genesis #1 starts a new adventure for the hero of tomorrow when social/class strife leads to violent protests, and a new Carnage emerges to become the weapon of revenge for the people. The art is solid, and the technical aspects of the writing are good, but the story gets painfully heavy-handed with social commentary.

Captain America: Symbol of Truth #12 continues the Cold War event with fighting in the snow and heroes reacting to enemies, but without a clear plot, direction, or goal, this event is going nowhere fast.

Clobberin' Time #2 leans into the satire to poke fun at everyone and everything about modern culture while delivering a rock-solid adventure about a thief from the future who may be intent on rewriting the past. The jokes (mostly) land, Skroce's unique art style suits the script, and the plot is deceptively intriguing.

Daredevil #10 takes the big developments from issue #9 and goes even bigger with fantastic art, thrilling action, rollercoaster pacing, and painfully emotional moments for the titular hero. Zdarsky's time on this title is rapidly coming to an end, and it looks like he's doing everything possible to leave with a bang.

Deadpool #6 takes Deadpool and Valentine out on date night while Princess and Lady Deathstrike keep the Atelier assassins out of the way. The slapstick humor largely works, and the action is fun. On every level, this issue is back up to the quality from issue #1.

Doctor Strange #2 opens the door for a far-reaching conspiracy about a hidden force stealing the souls of children. Ferry's art is outstanding, and the plot is creative, but the low pacing and lack of energy/urgency make this comic a mild struggle to get through.

Hulk #14 delivers an all-out battle royale to end the troubled series on a high note. The action is certifiably Hulk-sized, (most) of the major threads get wrapped up, and the ending feels satisfying while leaving the door open for more.

The Invincible Iron Man #5 is filled with great art, one wow moment with a new type of weapon, and one idea that may or may not have meaning for the future of Iron Man. Everything surrounding that one idea is a lot of slow-moving fluff. If Duggan has a story to tell, it shouldn't take over five issues to get going.

Fantastic Four #6 tries very hard to tell a scientifically smart story and comes off as silly to the point of being dumb. It would serve this series better if Ryan North spent more time writing a compelling story than showing off his prowess for technical jargon.

Hellcat #2 is an oddly pointless issue that does little to solve the murder mystery at hand and spends a lot of time fleshing out irrelevant details about Patsy's past. Hellcat lovers may love this issue for the richness of details you get about Patsy's broken upbringing, but everyone else may find this issue lacking in substance.

Punisher #11 is a surprisingly deep and emotional issue wherein Frank desperately tries (and fails) to save a marriage that's already collapsed. The writing here is some of the best we've seen from Aaron in a long time, and the cliffhanger will leave you guessing.

She-Hulk #12 is a head-scratcher of an issue. The plot about a superpowered thief started last issue takes a backseat to pointless scenes about Jen's work life, her romantic life, and an overlong backup story about hosting a book club. This title is the very definition of directionless.

Amazing Spider-Man #24 is the shoe drop Spider-Man fans have been waiting for concerning Peter and MJ's relationship. The technical execution, in terms of writing and art, is fine, but based on the lead-up issues, the outcome is painfully predictable. I suspect a significant number of ASM fans will be very unhappy with this issue.

Moon Knight #22 is an odd Moon Knight issue in that it has almost nothing to do with Moon Knight. However, if you're interested in getting to know the history and character of Tigra, you're in for a treat.

Bloodline: Daughter of Blade #3 reads more like the third act in a sedate Afterschool Special than a Marvel comic about a family of vampire hunters. The plot barely moves an inch, the well-choreographed action only makes up a fraction of the issue, and everything else is just plain forgettable.

Captain America: Cold War #1 is a lackluster start to a lackluster event that continues the storyline from the lackluster Captain America: Sentinel of Liberty series. The Outer Circle's motivations remain a mystery, the team-up between Bucky and White Wolf doesn't have a clear point, and the art is a mixed bag.