Bit and PiecesI can't say enough good things about this series, and I'm looking forward to see what Marvel can do with Daniel Warren Johnson next. Beta Ray Bill is the best thing I've read in years, and the entire creative team should be proud.

Beta Ray Bill #3 takes everything successful about the first two issues and continues to build on it even more. This is the strongest series Marvel is putting on right now by leaps and bounds above the closest second.

Beta Ray Bill #4 is emotionally complex, powerful, and everything that is best about good storytelling.

BLACK CAT #2 is the comic I wanted AND needed. The art is great, the story is great, and every panel on every page is hyper-focused on one word: FUN. This is the most entertaining comic I've read in months, and I'm greatly looking forward to what happens next.

Daredevil #2 (2022) sets up one of the most unique and intriguing villains in the Daredevil canon. How do you punch Fate? How do you arrest Destiny? It's an interesting idea that makes for a completely unknowable journey, and I'm looking forward to taking it.

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.

Final ThoughtsMoon Knight #7 packs and long-awaited punch as Marc Spector works through the criminal underworld to track down the deadly Zodiac. Every panel exudes a badass character that's not to be messed with, accomplished by great writing and phenomenal art. As good as the art is, it's made even better by Rosenberg's special coloring touches. This is the issue that feels like a proper return for Moon Knight.

Punisher #1 is a killer (*ahem*) first issue in this new status quo for Frank Castle. The action sequences are terrific. the violence is gritty, and Aaron makes Punisher an unapologetic killer. Everything about the character is elevated to a new level, and I'm onboard to see what happens next.

Alien #1 (2022) is a much improved and engaging start compared to the previous two arcs. The pacing is excellent, the character introductions feel right, the stakes are high, and the plot is clear.

Amazing Spider-Man #4 is a captivating issue that makes you appreciate the pure badassery of Tombstone as a main villain. The art is excellent, the pacing is energetic, the action is powerful, and the twist reveal is a pleasant surprise.

Ant-man #1 is a pleasant surprise to kick off a 60th Anniversary celebration for the incredible shrinking hero. This first issue recreates the look, style, tone, plot, and dialog of a near-perfect Silver Age-style adventure. If you're in the mood for some nostalgic fun, look no further.

Beta Ray Bill #2 replaces the grim and sad introduction to the titular character with a sense of purpose and perfectly intermingled humor. This is an adventure well worth the trip so far.

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.

Captain America: Sentinel of Liberty #1 brings in all the standard Captain America tropes about a man out of time trying to fit in when a terror threat calls him to action. The art is excellent, the pacing starts slow but picks up steam at a good point, and the thrilling action introduces an intriguing conspiracy mystery.

Captain America: Symbol of Truth #6 starts fresh with a banger of an issue when a visiting Prime Minister is attacked by assassins. The story is the cleanest and most straightforward of anything we've read from Onyebuchi, the art is fast-paced and energetic, and the cliffhanger is full of foreboding and intrigue.

Captain Carter #1 is a direct sequel to the "What If"?" character of the same name in a slightly different timeline. The character work to help readers get to know Peggy in a modern world is stellar, the art is equally stellar, and this was an enjoyable comic overall.

Clobberin' Time #1 is a big pile of clobberin', smashin' fun. Skroce's snappy banter is highly entertaining, the action is cartoonishly violent (in the best way), and the connective mystery linking this issue to the next is intriguing.

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.

Daredevil #4 feels like a minor, quiet issue where not much happens, but looks can be deceiving. Characters grow, Daredevil and Elektra take significant steps, and the tension of a brewing war between the Fist and the Hand is in the air.

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.

Bits and PiecesDaredevil: Woman Without Fear #2 is another strong example of simple-yet-effective storytelling. Zdarsky and the art team expertly intermingle small yet powerful emotional moments with rough and tumble hand-to-hand action scenes for brisk and entertaining read.

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.

Genis-Vell: Captain Marvel #4 may be the best issue in the series so far. The timeline-hopping is focused and simplified to let the story breathe, and the character interactions balance with plenty of big-fisted action.

Hulk #7 delivers with big action, hints surrounding a dark threat, and consequences. The art is captivating, and the plotting, pacing, and dialog are all excellent.

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.

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.

IRON FIST: HEART OF THE DRAGON #1 is everything you want in a clean, efficient, exciting, and entertaining action comic. The art is is dramatic and gritty, and the story moves at a high sprint. I wish the colors were a little richer because it does show as muted on the review copy, but that's a minor quibble. Overall, this is an excellent book.

IRON FIST: HEART OF THE DRAGON #2, combines great art with masterfully efficient storytelling to set up a world-ending threat that's believable and works on every level. With every page, the stakes get higher and not a single panel is wasted.

Moon KNight #10 is another knockout issue from Jed MacKay and the art team. The writing interweaves two timelines that come together at just the right moment for a cool reveal. The haunted office is a fun addition to Moon Knight's team. And, the "take no prisoners ending truly sets Moon Knight apart as a dangerous force.

Moon Knight #11 keeps the energy, tension, action, and drama on a high note coming out of the previous issue. Zodiac is still a loosely defined character, but he presents a formidable threat, and Moon Knight is forced to grow to meet the challenge. The art is stellar, the writing is excellent, and this series is in the best place it has been for quite some time.

Moon Knight #17 is a quick but impactful entry in the series as Moon Knight gets revenge for his dead "brother and takes the fight to the vampires. This depiction of Moon Knight is brutal, unrelenting, and unforgiving in all the right ways.

Predator #1 hits the nail on the head with a simple yet effective revenge story about a little girl who grows up on a revenge quest to kill the Predator who made her an orphan. The art is on-point, the action is brutally violent, and the main character's acting hits all the right emotional notes.

Predator #3 turns the series in the right direction by bringing a lengthy Predator battle into the mix, forcing Theta to survive, and introducing a revelation that could change the course of Theta's revenge quest. The art is grounded and hard-hitting, and the ending creates a moral dilemma with uncertain consequences for the future.

Predator #4 takes a solid series and steps up the pacing and action for a thrilling issue. Rather than replace storytelling with mindless action, the action moves the plot forward and reveals new information about the effect of Theta's hunt on the Predator race. This is an excellent issue that should please OG Predator fans.

Shang-Chi and the Ten Rings #5 builds out the legendary origin of the Ten Rings with a universe-ending threat that raises the stakes of Shang-Chi's tournament run exponentially. The action is solid, and the Rings' origin makes sense, so this series takes a big step up with this issue.

Spider-Man 2099: Alpha Exodus #1 is a fun, energetic, and wholly imaginative return for the character. The character designs are creepy, the setting feels futuristic in an unrestrained way, and the Cabal's plan feels like a high-stakes threat. That said, the minor letdown is the last page reveal of the Cabal's leader which is much too predictable in an otherwise fresh return for the titular character.

Bits and PiecesThor #26 clarifies the intent of the Banner Of War mini-event by making it as plain as possible – Who would win a fight? Thor or Hulk. There's no deep pathos or emotional depth. This arc is strictly designed to answer that one question and do it with as many fun, entertaining, wow moments as possible. The art's excellent, and the last-page development could lead to interesting developments in the future.

Tiger Division #2 is a rock-solid superhero adventure comic with a balanced mix of superheroics, character development, intrigue, and mystery. The writing elements are on-point, and the art is top-notch.

Way of X #1 is thought-provoking, insightful, and forces the reader to ask all the questions that should have been asked and answered a long time ago. What do people become when the mysteries of life are no more?

Final ThoughtsX-Men: The Onslaught Revelation #1 caps the Way of X storyline with a parable about forgiveness and letting go of hate to cure the rot living inside you. While the narration tries a little too hard to reach biblical proportions, the outcome is thought-provoking, the execution is fascinating, and the art is top-notch. This ending to the Way of X is as strong as the first issue, and the finale sets up a new X-team that's worth keeping an eye on.

Strange Academy #7 is one of those (not so) quiet character studies that adds to a series' main plot with impactful emotion and outstanding character development. Even though the main plot doesn't move much, you come away with a deeper connection and appreciation for these characters and what they're going through, hopefully making the finale that much more meaningful.

Bits and PiecesSabretooth #3 successfully plants the seeds of rebellion on Krakoa when the cracks of corruption have long since spread. LaValle demonstrates why Creed, even when trapped in a comatose state, is still one of the most dangerous mutants around. With excellent writing but admittedly little action, this offshoot of the X-Titles shows the most promise for the future of Krakoa.

Bits and PiecesA.X.E.: Judgment Day #1 looks, acts, smells, tastes, and feels like a war of interplanetary proportions. The art is great, the story moves with a steady, brisk pace, and the battles are brutally epic in scope. Despite the small army of characters involved, Gillen keeps the focus tight and builds to a cliffhanger that grabs your attention.

A.X.E.: Judgment Day #2 builds on the first issue with a new wave of attacks against Krakoa on a massive scale. The art and action are all great, and except for pacing speedbumps in the first and second act, the issue does exactly what it needs to unleash the dogs of war.

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.

Amazing Spider-Man #2 delivers a solid, almost standard, Spider-Man story as the wall-crawler takes steps to intervene in an escalating mob war. the plotting, pacing, and dialog are all excellent, and Tombstone is the standout character due to the pure intimidation factor. That said, the confusing wow moments are not only not explained, but they're also completely ignored in this issue, leaving a frustrating aftertaste.

Bits and PiecesAmazing Spider-Man reminds readers why tombstone is a formidable and dangerous presence in Spider-Man's world. Snared in Tombstone's trap, readers get interesting details about the villain's history and a clear picture of the lengths he'll go to keep what belongs to him. There are a few art oddities, and the shocking moments from issue #1 are still ignored, but this is a hard-hitting issue overall.

Amazing Spider-Man #21 begins the long-awaited arc to explain what happened to Peter and MJ when Zeb Wells took over the title. The action, intrigue, pacing, and dialog are all on point. It's too soon to tell if Wells paid off the wait, but this issue is a good start.

Final Thoughts:Ant-Man #2 is everything you despise about the Eric O'Grady era of Ant-Man mythology, and that's a positive. Ewing's writing captures the tone and attitude of Eric O'Grady down to a tee, the plot is amusing, and Reilly's art captures the style of the era close enough to feel authentic with a 16-panel page thrown in for good measure. Oi! You may have unkind feelings about the O'Grady ere, but you can't deny the creators replicated it beautifully.

Beta Ray Bill #1 doesn't shy away from the downside of assuming the mantle form one of the greatest Avengers, especially when that Avenger is still around doing great things. The indie art has niche appeal but this reviewer likes it, and there's a lot of potential for issue #2.

BLACK CAT #3 takes a break from the outrageous action to walk us down Hardy's memory lane of pains and regrets. When the power of creation offers her the ability to set every wrong right, we get a much deeper sense of authenticity to Hardy's character and an appreciation for the character she's grown into.

Black Knight: Curse of the Ebony Blade #1does an excellent job of portraying a conflicted, sometimes tortured, and insecure hero that walks the line between light and dark. Sharp, witty, and amusing, this story is worth picking up.

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.

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.

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 #9 surprises readers with a cooldown issue after the big battle against The Punisher that immediately flips into a game-changer. The surprises are… surprising, and the stakes escalate significantly.

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.

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.

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.

Daredevil: Woman Without Fear #1 takes a detour from Devil's Reign to reveal Elektra has a deadly enemy after her. An enemy that knows nearly everything about her past and her secrets. Despite needing a few extraneous scenes trimmed, the story was largely enjoyable and the art is just about perfect.

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.

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.

Doctor Strange: Fall Sunrise #1 is a strange (*heh*), dreamy, trippy fairytale that follows the titular hero in a strange limbo as he follows a quest whose goal he can't quite remember. The trippy art is an acquired taste, but it suits this story beautifully.

Elektra: White, Black & Blood #3 is yet another solid entry in the anthology series with great writing across all shorts (some better than others) and great art (again, some better than others). If you're a fan of Elektra, you should be well pleased with something in this issue.

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.

Bits and PiecesGhost Rider #4 is a welcome return to form with a horrific monster-of-the-month mission for the Spirit of Vengeance. The plot is basic, perhaps a little too basic, but it gets the job done, and the side story with the FBI agents keeps the tie to a larger threat down the road. The art team is putting out excellent work, so this will be a pleasing pick for horror and Ghost Rider fans alike.

Gold Goblin #1 firmly establishes an inside look at Norman's sympathetic and fragile new status quo as a former villain trying to turn his life around. Norman's constant struggles with guilt and his need not to revert to his Goblin ways play out like an addict desperate to turn his life around after hitting rock bottom, so this could turn out to be a series worth watching.

Hulk #1 imagines what would happen if you pushed one of the world's smartest scientists too far and he turns the tables on being a victim of the Hulk to commandeering the Hulk as the ultimate vessel of destruction. The concept is lofty but intriguing once you get your brain around it, and once the setup is done, the cliffhanger opens up a (pocket) universe of unpredictable possibilities. The art is generally good, but the facework needs some improvement.

Hulk #12 turns the series in a dire direction as the lurking threat of Titan comes back in a big way. Ottley's pacing, dialog, and buildup of suspense are executed beautifully, and the art is excellent. Some readers may be disappointed by the explanation of Titan's origin, but everything else works.

Hulk #13 takes a big step forward in the story by answering lingering questions left too long on the back burner, questions that made the series feel like it was treading water. The reveals are intriguing, and the art is excellent. If Ottley can keep this up, the arc will conclude a lot stronger than it started.

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.

Midnight Suns #1 starts a new the-world-is-ending adventure that crosses over the classic Midnight Suns team with Strange Academy for a clear, concise, solid start. The new character introductions are executed with respectable efficiency, the apocalyptic event immediately elevates the stakes, and the rationale for gathering the team together makes sense.

Bits and PiecesMoon Knight #6 is the strongest entry in the series so far because questions are answered, characters are developed and grown, and the spark of potential has been lit. Couple the solid writing with the outstanding art by Cappuccio and you have a winner of an issue. The only thing that stops this entry from getting a top score is the mind-boggling lack of information about the villain after six issues.

Bits and PiecesMoon Knight #13 begins a new arc with a new crusade against a growing tide of vampires in NYC. Taskmaster's cameo adds an amusing bit of levity and reputation-building for the Fist of Khonshu, and the art is filled with gritty, moody drama and action. Coming off a lackluster finale to the Zodiac arc, this is an excellent start to get the title back on track.

Moon Knight #16 journeys to the heart of Chinatown to uncover a secret Cold War between rival vampire gangs and a closer look into Tutor's grand plan. The art is outstanding, the exposition (though lengthy) sets the stage and raises the stakes, and the last page will have consequences for several issues to come.

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.

Namor: Conquered Shores #2 greatly improves on issue #1 by delivering a quest to save humanity and hinting at the possibility of a new war. The multiple mysteries are well-introduced with high stakes, and the art is gorgeous.

Planet Hulk: Worldbreaker #4 plays out a philosophically powerful idea that hits at the heart of Hulk's nature – where do you draw the line between helping and destruction? The writing and art are rock-solid, and the last page reveal is a wow moment that promises big things for the finale.

Bits and PiecesPunisher #2 continues on the path of death and destruction as Frank learns more about the Beast's designs on him since he was a boy. Aaron does an excellent job building a sense of momentum towards a final and permanent change for Frank, and the main villain's reveal makes complete sense for the mythology at play in this story.

Punisher #4 builds the stakes, amps up the brutality, and plants seeds of doubt for a possible game-changing issue in the series. The pacing,m character-building, and drama are set on high, but the jarring shift between two radically different art styles leaves a sour taste.

Sabretooth #4 gets high marks. Not for what it is, a well-drawn but dialog-heavy comic, but for what it has the potential to be the spark that finally ends the Krakoan Era. That alone is worth the cover price.

Shang-Chi and the Ten Rings #3 delivers the goods with great art, exciting action, and eye-catching mysticism, paving the way for more trials for Shang-Chi to prove his worth as the owner of the Ten Rings. That said, the ending falls a little flat in the satisfaction department.

Thor #25 fills in critical and long-overdue blanks from the main Hulk run with clarity on everything from the Avengers' whereabouts to the oft-referenced El Paso incident. The art is generally good, except for an occasional odd panel with weird facial expressions and body proportions, and there are plenty of wow moments to keep you engaged.

Thunderbolts #2 adds a new teammate, more mystery, and oodles of potential for a superhero book tinged with solid humor and hard-hitting action (literally). Zub's pacing and dialog are excellent, and the art is great. Barring Hawkeye's depiction as an insecure buffoon, this title continues to show great potential.

Timeless #1 is a better-than-average one-shot with great art (despite a small army of artists) and a complete story that fully educates the reading audience on why Kang the Conqueror is the most dangerous villain of all time. I'm not a fan of the hefty cover price but there's a lot to like in this issue, and the last-page teaser is an interesting surprise announcing the advent of a famous character we've not seen in years.

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.

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.

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.

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.

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.

Alien #4 hits all the right tropes for a decent Alien story with monsters hiding around the corner, a frantic chase, and a Hail Mary plan. That may sound like it's a boilerplate story for the franchise, but the reveal of a new kind of alien at the end gives the overall interest a little bump.

Alien #7 starts a new arc and continues the series in name only by focusing on a completely different location and completely different set of characters. The art looks great, the characters work is excellent, but the overall premise has some pieces that don't quite feel believable or realistic" yet. This is a guarded recommendation.

Bits and PiecesJohnson sets up a white-knuckle humdinger of a cliffhanger in Alien #11 heading into the next issue finale. The feeling of encroaching horror and hopeless dread is palpable, and the art is consistently okay.

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.

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.

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 #12 is a solid issue focusing on the emergence of a new Hobgoblin that may or may not be a new Hobgoblin. The personal character moments are very good, and the Spidey action is excellent.

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.

Ant-Man #4 brings the Anniversary mini-series to a close with tons of well-crafted exposition, interesting art, and head-scratching superhero "science. Ewing should be commended for delivering one of the better Anniversary runs that pay honor to a character in recent memory.

Black Knight: Curse of the Ebony Blade #2 does a solid job following up a strong first issue. The Dane Whitman in issue #2 is a little less interesting but the story fills in tons of legend, lore, and backstory to keep readers engaged.

Bits and PiecesBlack Panther #2 improves on the first issue with a proper detective story and chase plot all rolled into one with cool Wakandan tech and energetic fight scenes. The art team pulled off an excellent-looking book, and the pacing is stellar. The one odd/down point is Ridley's insistence in making T'Challa paranoid to the point of being a fascist, especially in his attitude here towards the Avengers, and it seems wildly out of place.

Black Panther #5 masterfully captures the paranoia inherent in conspiracy thrillers but seemingly forgets to do the detecting legwork. Still, the dramatic tension never lets up, and the visuals hold your attention throughout.

Bits and PiecesBlack Panther #7 will be a bitter pill to swallow for T'Challa fans as Ridley brings the character to his lowest point. If this penultimate issue is any indication, T'Challa's future in any role is in doubt, and that may have been Ridley's plan all along. Whether or not you agree with the creative directions of the story, the technical execution of the art and writing is solid.

Black Panther #14 delivers the goods in a penultimate issue leading into John Ridley's final issue next month. The action, pacing, dialog, and dramatic elements hit their mark, and the art is very good. If readers have been put off by the tearing down of T'Challa in this series, this issue takes his failure one step further, but the ride to get there is reasonably entertaining.

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.

Final ThoughtsCaptain America / Iron Man #1 is a fun and engaging first issue with the top leaders of the Avengers chasing down an unassuming villain whose little plan may be more dangerous than anyone realizes. The art is great, and Landy perfectly captures the characterizations of Cap and Tony. However, a few of the minor plot points don't quite add up, relying on the reader to turn a blind eye to get the best experience out of the issue.

Captain America: Sentinel of Liberty #5 may be the best issue in the series so far, relatively speaking. Readers get lots of big action and heroics to hold your attention, and Bucky carries the dramatic weight of the issue when he's confronted with the knowledge of the Outer Circle's influence on his life.

CHILDREN OF THE ATOM #6 ends the series with a heartfelt and well-written coming out story. The art is great, and the conclusion hits an optimistic note for the future.

Cosmic Ghost Rider #1 resurrects one of the weirder characters of the Marvel Universe with a promising start to a mystery about a killer who may or may not be Frank Castle. Juann Cabal's art is fantastic, and Phillips lays a solid foundation for an intriguing story.

Daredevil #1 (2022) hits the ground running as Matt Murdock ties up loose ends before saying goodbye to NYC for good. The art is jaw-dropping, and Zdarsky packs every scene with drama and emotion. However, there are a lot of settings to keep straight, some without any apparent connection to the main plot, so your enjoyment may be mixed with confusion.

Daredevil #3 (2022) takes the off path of ignoring the big surprise threat(?) to focus on the B plot of Matt's ascension to the Hand's new leader. The shift in the arc's direction is jarring, and most of this issue focuses on setup and foreshadowing, but the stellar art and engaging writing hold your interest.

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.

Deadpool #1 is a respectable start to a new arc from Alyssa Wong. The plot is original and makes sense, Deadpool's "voice is a solid impersonation of Ryan Reynolds, and Coccolo's art is above average.

Doctor Strange #1 walks readers through a day in the life of the recently resurrected Doctor to ease readers back into his new status quo as Sorcerer Supreme and a married man. The house calls are amusing, and the bigger threat is substantial, but the plot's main conflict appears to be heading for marriage problems, and it's unclear if that approach will pay off.

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.

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.

Elektra: Black, White & Blood #2 is a strong entry in the anthology series with a general focus on treating Elektra as a force of nature or a plot device rather than as a central character. The art is generally good in all shorts, but nothing particularly stands out as a clear winner in the bunch. In other words, this issue is just okay.

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.

Ghost Rider #2 is a solid example of comic horror and a noticeable improvement over the first issue. The setup is the stuff of classic horror films. The artwork is excellent. And the resolution opens the door for monster-of-the-month adventures. That said, the narration was frequently unnecessary and dragged the pacing in several spots.

Gold Goblin #2 puts pressure on Norman's recovery efforts, much like an addict tempted with his elixir of choice. The character work is intriguing, and the future potential is rife with possibility. Just don't expect much as a Dark Web tie-in, since the event is barely a factor in this issue.

Hulk #10 takes a break from the mindless, pointless action to build Hulk World, showing that the mindless action may have had a point. The art's excellent, and the writing is technically on-point, so this run may be worth the patience after all.

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

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 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.

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.

Iron Fist: Heart of the Dragon #3 takes readers on a trip around the world to remind everyone Marvel is all about a global hero roster. Light on plot but heavy on action and diversity, it's a good setup issue to line the chess pieces up to hit the midway mark of the arc.

Iron Fist: Heart of the Dragon #4 is a wild, frantic, fast-paced issue that challenges the readers to keep up with the players, twists, and turns. The art is excellent, and the twist ending was definitely a surprise.

Iron Fist: Heart of the Dragon #5 hasn't let off the gas since issue #1 and this penultimate issue is no exception. It would have served better to get the villain reveal sooner and add some motivation for his realm-ending plan, but you can't argue it hasn't been exciting every page along the way.

Iron Fist: Heart of the Dragon #6 is filled with good art, good action, some stiff dialog, and the biggest gotcha ending I've seen in a very log time. I don't know what Marvel was thinking. The score will reflect the technical merits of the book, and not whether or not I agree with the story (I did not.)

Ka-Zar: Lord Of The Savage Land #1 brings readers up to speed on the Plunder family post resurrection. The characters are well-written albeit hard to like, and the art captures the beauty of the Savage Land through the lens of a flowery garden. Throw in some techno-organic body horror for good measure, and we're off to a promising start.

Midnight Suns #4 is a solid, supernatural thriller with good pacing, good dialog, excellent art, and a twist ending that promises big things for the finale.

Miles Morales: Spider-Man #1 is a rock-solid start to a new run starring Earth-1610's favorite Wall-Crawler. The art, especially the action, is fantastic. Zieglar paints a picture of a relatable teenager with too much on his plate, and the villain is intriguing enough to want to know more.

Final ThoughtsMoon Knight #5 bares Marc Spector's soul to help readers get to know the man behind the mask. The complexity of Spector's past troubles makes this iteration of Moon Knight a surprisingly deep character. In addition to the pathos, we're given great action and, finally, the big villain reveal. However, the villain may be too deep a cut to elicit the “wow” moment the creators were looking for.

Moon Knight #18 brings Moon Knight's battle against an encroaching vampire organization to a close with great art, great action, and a clever "super weapon. However, the final fight satisfies because the villain gets what's coming to him, but the fight ends too fast and too easily.

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.

Predator #2 (2022) builds out Theta's credibility as a capable warrior. Strangely, there's almost no Predator activity in this issue, so you could argue the book is all set up, but the character-building does its job to prepare readers for the challenge to come with solid writing and beautiful art.

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.

Sabretooth & the Exiles #1 is a solid start to the continuation of the Sabretooth limited series. The action is energetic and bloody. The new villain is truly villainous (a rarity these days), and this issue acts as an excellent jumping-on point for the next phase in Victor's journey to fulfilling Destiny's prophecy.

Bits and PiecesSabretooth #1 takes readers on a weird, mind-bending adventure when Victor Creed is trapped in the bowels of Krakoa, and his own mind, forever. The art looks great, and there's plenty of action to satisfy your claw-ripping appetite. That said, the plot doesn't transition well from one scene to the next, constantly casting doubt on when and where you are and making for a mildly confusing reading experience.

Shang-Chi and the Ten Rings #6 ends the second arc with a three-way fight that leads to a new status quo for one character, a rekindling of old rivalries for another, and predictably cements Shang-Chi's role as the bearer of the Ten Rings. The writing execution and art are solid from front to back, and the ending is relatively satisfying.

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.

Bits and PiecesSilk #4 is a middling issue with amusing character interactions between Cindy and her friends and a little bit of action toward the end. If you're into fluffy, slice-of-life storytelling with a superhero twist and all the dramatic punch of a Scooby-Doo adventure, you'll enjoy this issue a lot.

Spider-Man 2099: Exodus Omega ends the series with energetic action, tension, stakes, and excellent pacing. Does a strong finale make up for a troubled series? No, but at least the creators can walk away on a high note.

Final Thoughts:The Trials of Ultraman #1 has good art and good action but is mostly a setup issue to set the stage for the story to come. Shin is portrayed with a wholesome Peter Parker/Spider-Man vibe, and the copious exposition isn't slowed down at all with the brisk pace.

Final ThoughtsThe Union #2 improves significantly over issue #1 by giving the readers a clean, easy-to-follow story that's almost entirely one big fight scene. The art looks great, the battles were energetic, and the pacing was very good. Some of the science behind the final fight was a little too convenient, but overall, the issue told the story it needed to tell and laid the groundwork for the next issue.

Final Thoughts:Thunderbolts #1 is a surprisingly solid setup issue that brings a new team together under the authority of Mayor Luke Cage. The introductions are well-paced and shown rather than simply told. There are intriguing hints that not every team member is problem-free. And the rationale behind forming a new team makes sense for the story Zub is telling.

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.

Bits and PiecesThe “creating a mutant religion” hook has all but disappeared from this series in favor of a corruption arc. While the writing and exceptional art make for engaging storytelling, the big revelations about Onslaught's method of attack could lead to big happenings on Krakoa IF Spurrier follows through. For now, this is a tentative reccomend.

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.

Bits and PiecesThe Amazing Spider-Man #1 is a decent start to the run by Zeb Wells. Peter starts in a bad place, and things only go downhill. Wells does a nice job of setting up the central conflict, but the lack of information about Peter's absence and the lack of clarity about the twist ending may cause some readers to feel more annoyed and frustrated than curious.

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.

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,

Punisher #3 is another solid entry in the series with plenty of violence, great art, a flashback that fills in lanks about his past to make his retcon a teeny bit more palatable, and strong emotional bits surrounding Maria. That said, the well-choreographed violence is starting to feel like more of the same without a clear direction for Frank's mission.

Punisher #6 continues to assail you with brutal violence, emotional and mental torture, and heartbreak. All emotional beats you want for a comic to grip you. Unfortunately, the lack of a destination or goal is becoming a point of frustration that makes it feel like Aaron is giving you violence and heartbreak for their own sake.

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.

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.

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.

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.

Avengers X-Men Eternals: Eve of Judgment #1 is an excellent charter-building prologue for the Judgement Day event. This issue is all talk and no action, but you get the key behind who wants the mutants dead and why. The art is excellent, and every dialog scene is well-written, but you may find this issue a struggle to get through if you're unfamiliar with the Eternals.

A.X.E.: Judgment Day #3 continues the war with plenty of engaging visuals during the battles, an interesting moral dilemma, and an intriguing last page reveal. However, the issue ends almost in the same place it started, so if you choose to skip it, you won't miss much.

Final Thoughts:Alien #5 is good “action/chase” issue with good action art, rapid-fire pacing, and escalating stakes. The character art leaves something to be desired and a key emotional plot point is entered much too late in the story to apply the weight it calls for, but this is a good entry overall.

Bits and PiecesAlien #6 wraps up the current arc well enough by resolving the main conflict with a lot of sacrifices from the main character. The art is good, and the door is left open for the story to continue, but the conclusion here is less than satisfying because the questions raised about the Alien Queen and the Alpha aren't fully addresses.

Alien #2 delivers the Xenomorph-loving goods when the synthetic retrieval team faces off against an entire colony of aliens. The action is fast-paced, and there are enough surprises to keep the intrigue up, but some readers may be annoyed with the horror trope of dumb people doing dumb things to get themselves killed.

Alien #3 kicks the plot into high gear with great art and plenty of soldier-vs-Xenomorph action. Aliens (1986) fans will have a lot to like in this issue, but the story is quickly becoming formulaic.

Amazing Spider-Man #6 is a triple-sized one-shot that celebrates Peter Parker's birthday with a visit from the Living Brain and the OG Sinister Six. The pacing and art are all excellent, but the corny humor overpowers the weighty message behind the Living Brain's quest, and the lack of continuity with issue #5 makes this a #6 issue in name only.

Amazing Spider-Man #8 takes a baby step forward by concluding the conflict with Vulture in one, issue-long fight. The fight is brutal, and readers get the reveal of the "new Spidey suit enhanced with Goblin tech, but the fight choreography has a few flaws, and the emoji mask is eye-rolling.

Amazing Spider-Man #22 unveils a major section of the series's mystery surrounding York, PA, and it's a sure bet nobody will guess how it happened. The art, action, pacing, dialog, and plot movement are very good, and major pieces of the mystery (MJ's kids?) have yet to be explained, but at least it's an answer. Whether the answer was worth the wait is TBD.

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.

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.

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.

Ant-Man #3 unveils the world-ending threat serious enough to force future Ant-Man to pull resources from across time to stop it. The character interactions are fun, and the overall art is excellent, but the plot tries to do a little too much, making the issue feel rushed. Complete but rushed.

Black Panther #1 focuses on T'challa's evolving roles as Emperor and King. The authoritative choices he makes may be a bridge too far for some readers but it is, at least, an evolution of the character. The comic sets up an interesting story with plenty of action and drama, but there is a major plot hole that may be difficult to ignore. In all, there's plenty of good and a little bad in this first issue with a different take on the character that may be more divisive than anticipated.

Black Panther #9 is either a brilliant approach to social commentary or a happy accident from a writer whose completely out of ideas. Either way, the new arc starts off with a bang that will leave you scratching your head.

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.

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.

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.

Captain America: Symbol of Truth #11 ends the conflict against White Wolf with an issue-long fight. The choreography and artwork are excellent, and the fight's conclusion feels satisfying.

Children of the Atom #1, has excellent art and is certainly a different kind of X-Men story. Despite a bumpy start, the writing settles into decent levels as the issue progresses, and the story opens up many questions that put a lot of pressure on future issues to pay off.

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.

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.

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.

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.

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

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.

Doctor Strange: Fall Sunrise #2 clarifies the backstory behind Doctor Strange's current predicament and adds a weirdly bizarre mix of religion, ancient legends, and lore for a truly unique experience. In fairness, the mix of concepts makes this issue a dense, heavy read that doesn't always remain lucid, but the experience is fascinating enough to keep going.

Elektra: Black, White & Blood #1 gives readers three short stories that highlight why Elektra is considered one of the deadliest killers in all of Marvel-dom. While each story style is different (writing and art), there isn't a lemon in the bunch. That said, it would have served the anthology better if each short paid more attention to saying something new and meaningful about the character.

Bits and PiecesElektra: Black, White & Blood #4 swings for the artistic fences with myths, legends, and poetry in a stronger than average anthology. In fairness, some stories are stronger than others, but there's something here for every Elektra fan.

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.

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).

Guardians of the Galaxy #1 picks up in the middle of an odd adventure with a mystery twist that shows promise. The art is excellent, and the predicament of a particular Guardians member is intriguing, but it's too soon to tell if the journey is worth the cover price.

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.

Final ThoughtsHulk #3 finally gets to the meat of the story about an encounter with an alternate dimension Banner who's life since the Gamma experiment has taken a more cataclysmic turn. While the story has plenty of creative elements, there's a decided lack of emotional hook or wow factor. It's just okay, and perhaps that's good enough for die-hard Hulk fans.

Hulk #5 is just starting to get to the good stuff before it prepares to end the arc. We learn a little about this world, but not much. Hulk goes up against Spider-Hulk and Abomination but we barely get to see it. There's a lot of rushing that doesn't give cool ideas their due.

Hulk #9 begins a new arc with a little more focus on the story and less on mindless action. However, the first half takes a very long time focusing on Bruce's abuse as a child, calling into question whether or not the flashback was needed for the present story or if the creators simply needed to fill page space. The second half of the story is all Hulk action, so arguably, there's something for everyone.

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.

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.

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.

The Invincible Iron Man #1 is a serviceable start to a new run starring Marvel's quintessential playboy after he's fallen on hard times. The pacing, plot progression, and dialog are excellent, and the art team delivers a gorgeous set of visuals. However, kicking off a new run with Tony Stark hitting rock bottom feels like too-familiar territory, so it remains to be seen if this series is worth continuing.

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.

Final Thoughts:Iron Man #7 takes the desperate space chase and throws a big monkey wrench in the works. The existential discussion about the meaning of life was interesting, if a bit out of place, and the twist at the end is a true surprise leaving you to wonder what happens next.

Final ThoughtsKa-Zar: Lord Of The Savage Land #3 shows what happens when children keep dangerous secrets. The art and action are terrific, and Ka-Zar's evolution in his post-death life is fascinating. That said, we have no understanding of the main villain's wants or motivations after three issues, and it's becoming frustrating when it should be mysterious fun.

Midnight Suns #2 is a serviceable mix of big, exciting action and a healthy amount of flashback exposition to setup up the coming conflict with the big bad of this arc. While the plot doesn't move forward much from the previous issue, the setup information is helpful, and the action keeps you entertained while you learn.

Moon Knight #1 is a great setup issue for new readers, but existing Moon Knight fans may feel like there's not much here for them. However, the art is great and the new villain introduced looks to be extremely interesting.

Moon Knight #14 is half a step above a breather issue with an interesting conversation between Moon Knight's multiple personalities as they debate the merits of their relationship and decide on a new way to live. There's almost no progress on the plot, but there's enough potential for a new status quo to feel like this issue is leading you somewhere.

Moon Knight #21 continues the attacks from a mysterious new villain with a weapon that could destroy entire crowds of people with the flick of a switch. The mystery surrounding the villain is intriguing, and the art is stellar, but the story lacks a hook to give it emotional weight and importance.

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.

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.

Moon Knight Annual #1 is a good Annual with a creative plot, but a glaring continuity error and a too-much-to-believe resolution to the fight keep the book from being great. Still, you can never have enough werewolves and the art's fantastic.

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.

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 #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.

Sabretooth #2 is a cleaner, clearer issue compared to issue #1 with a story that's easier to follow and presents a clear direction. That said, the supporting cast of mutants introduced in this issue are somewhat forgettable, and the demystified setup is somehow less intriguing. However, the art is strong from front to back.

Secret Invasion #2 is a tense, thrilling, paranoid-filled issue with great art, great action, and great drama. However, the meat of the issue is effectively one big scene that heavily borrows from John Carpenter'sThe Thing(1982) and doesn't move the plot forward more than an inch.

Shang-Chi and the Ten Rings #2 does a fine job furthering the idea that every organization is out to get the Ten Rings for themselves, but Shang-Chi's lack of good judgment and common sense in this issue almost confirms maybe he isn't the right person to have them. At least the art is fairly good.

Final ThoughtsShe-Hulk #2 spends nearly the entire issue (re)introducing readers to Jack of Hearts through his history and how he feels right now, admittedly with a flawed memory of recent days. The art is serviceable, but there's no story (yet) to speak of.

Final ThoughtsSILK #1 starts the volume off right with the introduction of a new and intriguing villain, an improvement in the depiction of J. Jonah Jameson, and the potential for a little character growth for Cindy Moon. That said, Marvel's need to incessantly insert a super-obnoxious character in every Silk volume is wearing very thin. If you can get past Lucas, everything else about this first issue is fine.

Silk #5 ends the arc the way it began with a light, airy ending that fits right in as an Afterschool Special or a Scooby Doo Mystery. The action is fine but safe, the linework is adequate, and the coloring is very good. If you want some light superhero fare for the kids, this is a solid title. If you want hard-hitting drama, look elsewhere.

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.

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.”

Thunderbolts #5 ends the limited series the only way it could for a nearly complete conclusion. The main villain makes sense for the surreal troubles the team has endured, and most of the threads get a complete explanation. That said, a few questions remain unanswered, and while the issue doesn't feel rushed, the arc certainly does.

Tiger Division #1 is a decent start to an adventure starring Marvel's latest superhero team. The standard plot is elevated by efficient character introductions, a brisk pace, and a fair bit of intrigue going into the cliffhanger.

Way of X #2 has interesting plot points and reveals a lot of interesting pieces, but there's so much going on in a swirly jumble that you need to have Legion's powers to keep it all straight. The story is still there, but this issue got away from Spurrier a little bit.

Way of X #3 takes a soft right turn away from the Onslaught problem to explore the politics of sex and reproduction. While interesting (and occasionally amusing) in isolation, this issue feels more like an aside from the imminent threat building since the first issue.

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.

A.X.E.: Judgment Day #4 makes a lot of noise, brims with high energy and fast pacing, but ultimately runs around like a chicken with its head cut off until the last four pages. The ending hits big, hard, and fast. Are those last four pages worth a $4.99 cover price? Probably not, but it will be interesting to see what happens next.

A.X.E.: Judgment Day #6 ends the central conflict with high stakes, big action, and at least one character's evolution to a new status quo. The spectacle hits hard, but the small character moments hit with just as much impact. That said, the conclusion boils down to a "My bad and a lot of lecturing, which ends the main event with a whimper instead of a bang.

Final Thoughts:Alien #2 takes everything you like about the Alien film franchise and reassembles it in comic form for a decent enough story. The art is good enough. The story, while not very original, is good enough. If you like Alien, you'll like this.

Final ThoughtsAlien #8 takes readers on a very predictable ride where the colonists, at first, don't believe the witness but then start running for their lives when Xenomorphs start tearing through the colony. As far as Alien stories go, it gets the job done but never rises above vanilla boilerplate plot.

Bits and PiecesAlien #9 treads on well worn territory in both the art and the writing. In the art, the familiar tropes are a success because they hit the creepiness nerve in just the right ways. In the writing, those tropes produce an issue that takes the originality of the colony's setup and devolves into formulaic territory. In short, this issue is a mixed bag of very good and very predictable.

Alien #4 shifts from borrowing fromAliensto borrowing fromAlien: Resurrectionas the Steel Team now has to contend with threats from all groups. The art is gory and exciting, and the overall pacing is solid, but the general themes of the story are getting repetitive.

Amazing Spider-Man #10 takes Peter Parker on an apology tour as the day of judgment has arrived in an A.X.E.: Judgment Day tie-in. (Un)surprisingly, there's almost no Spider-Man in this issue. Spidey doesn't involve himself in the battle, he doesn't help the NYC citizens as panic sets in, and he doesn't use the opportunity to set things right from the mysterious events of issue #1. Peter visits everyone he cares about (except MJ) to let them know how much he cares. Lots of feel-good moments that amount to a whole lot of filler.

Amazing Spider-Man #23 spends an entire issue with Peter running around NYC looking for help. The overall plot doesn't progress much, and there aren't any big reveals or wow moments. If you don't mind a transition issue in an arc that took over a year to prepare, this is as good as it gets.

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.

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.

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.

Black Knight: Curse of the Ebony Blade #3 has great art, great action, and makes some forward progress on the story, but the uneven pacing and a page-wasting flashback killed the momentum from a much better first and second issue.

Bits and PiecesBLACK KNIGHT: CURSE OF THE EBONY BLADE #5 has great art and a fairly inventive master plan by the lead villain, but it all feels a little too much like a contrived setup to have Jacks take over as the new Black Knight.

Bits and PiecesBlack Panther #4 takes the political intrigue of the assassination attempts and slathers on a generous helping of paranoia. The art is good, although the Black Panther design is almost too generic, and the action is energetic. That said, Ridley is painting a story about a deeply flawed hero leading an increasingly unstable nation, and it's not clear where this story is headed but it doesn't appear to be anywhere good.

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.

Captain Carter #5 ends the series with the best issue in the series. The best part is the utter lack of pace-killing lecturing from Peggy's neighbor, Harley. There are plenty of Mission Impossible-style shenanigans, prison escapes, and vampire fights to end the troubled series on a relatively high note.

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.

Cosmic Ghost Rider #2 ups the bounty hunter challenges for Frank Castle but doesn't do much else. The art looks great, and the action is kinetic, but the story lacks any clues about the second Riders identity and doesn't have a direction for Frank other than survival.

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.

Dark Web #1 kicks off the supernatural event with new alliances, demonic attacks on NYC, and quickly spiraling chaos. The art is excellent, and there are a few interesting developments in this issue to hold your attention, but the villains' plan doesn't seem fully formed, and the collaboration between the villains doesn't make a lot of sense.

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.

Fantastic Four #2 bizarrely continues the model of delivering an issue that has nothing to do with the "incident in Manhattan or the Fantastic Four together as a team. The art is good enough, and the issue works as a Scooby Doo/Twilight Zone-styled mystery, but if you're looking for a Fantastic Four adventure in a Fantastic Four comic, you may have to wait until the Spring of 2023.

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.

Genis-Vell: Captain Marvel #1 drops you right into a story about a resurrected Gennis-Vell struggling to get his memories and his life back. Visiting the past can be fun, and it is in spots, but the constant swapping back and forth between Earth, an alien world, the past, and the present quickly turns the issue into a frustrating knot.

Genis-Vell: Captain Marvel #2 suddenly takes a left turn in the lead character's quest to get his memories back for a mission to save Death from the Kree. The dialog, pacing, and plotting are all very good, but the new mission comes out of nowhere and seems like a random distraction.

Bits and PiecesGhost Rider #1 is a serviceable albeit frustrating start to a new run from Benjamin Percy. There's very little Ghost Rider in the story, and the mystery surrounding Johnny Blaze is not mystery at all. On the positive side, the art is excellent and isn't afraid to lean on the horror and gore.

Bits and PiecesGiant-Size X-Men: Thunderbird #1 is a serviceable return for the legendary mutant. The paper-thin resurrection conflict takes a backseat to a generic revenge fantasy about Indigenous people striking back against government injustice. There's nothing wrong with telling that type of story, but the creators tried so hard to make Thunderbird fit in, that they forgot to make him stand out.

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.

Hulk vs. Thor: Banner of War #1 kicks off the next arc in Cates's run with stronger art but not much story. If all you want is an excuse to see Hulk and Thor duke it out, you get plenty of that here. If you want to know why the El Paso incident is such a big deal and why it's motivated everything since issue #1, you can probably skip this issue and not miss a thing.

The Invincible Iron Man #3 reveals all the answers behind the mysterious attacks on Tony Stark, and the answers may (or may not) shock you. The dialog-heavy issue is executed well, and the art is solid, but the big reveal feels like Duggan is recycling older material.

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.

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.

The art in Iron Fist #3 is generally good (ignoring the style inconsistencies). The story gets the job done with adequate emotional beats and no surprises. And the end result is a passable martial arts story with mystical elements, none of which have any connection to K'un-Lun or the legend of the Iron Fist.

Ka-Zar: Lord Of The Savage Land #2 has some unique action and eye-catching art. That said, it's a struggle to get behind a family of heroes that are increasingly dysfunctional and a villainous threat that executes targeted attacks with seemingly no purpose.

Miracleman: The Silver Age #1 gives fans of Miracleman plenty of information on the origins of Young Miracleman and the emotional impact of resurrection in the modern world. However, this issue is almost all exposition and setup, with people talking for most of the page space. You may find this issue valuable as a reference but short on excitement and engagement.

In all, Monica Rambeau: Photon #1 is a serviceable reintroduction to the character for new readers. Ewing lays out an excellent bit of character development to demonstrate Monica's current crisis of purpose, and the art is generally good. However, the second act feels chaotic and plagued by jarring pacing shifts.

Moon Knight #2 is well-structured comic that looks and sounds good. That said, the plot is boilerplate vanilla, and the pieces fall together too quick and too easy. In short, this issue was decent but forgettable.

Moon Knight #3 presents the second Fist of Khonshu in all his glory to act as foil to push Moon Knight in new directions. While the issue is rife with potential, the series doesn't' seem to be following any story or cohesive narrative. So far, it's just things happening. Therefore, this issue is fine for what it is in isolation, but readers may struggle to find anything compelling that keeps them coming back for more.

Moon Knight #8 takes a novel approach to event tie-ins by not connecting to the event and keeping the hero out of his own title. Dishonest marketing aside, the old/new villains is now a high concept reboot that takes more than a little brainpower to figure out, and the art is excellent.

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.

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.

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.

Namor the Sub-Mariner #1 brims with gorgeous artwork and an impressive amount of world-building to set the stage for Namor's journey. Unfortunately, the issue is all stage dressing and no substance beyond the world-building, so you're never given a reason to come back to find out what happens next.

Punisher #5 takes a semi-break from the main plot to show readers how Frank Castle matured in school with a chance at living a normal life until tragedy and circumstance put him on a darker path. The dramatic writing is well done, and the bits of information we get in the present is intriguing, but the flashbacks (which take up most of the issue) don't do much for the present story.

Shang-Chi and the Ten Rings #4 shifts the series into a story that reads like a second-rate combat tournament video game, complete with colorful opponents and an objective to survive multiple levels of a mystical pagoda. This issue is light, low-stakes fun, but don't look for a meaningful plot.

Final ThoughtsShe-Hulk #1 successfully pulls off a '90s-style, light and airy tone showing how the main character is down-on-her-luck in every way possible. While the tone is inoffensively pleasant, this first issue is nothing more than a decompressed prologue that doesn't get to the heart of the story until the last page. It's the cotton candy of adventure stories, and maybe that's enough for She-Hulk fans who've waited for her return to form.

Silk #1 is an excellent start and setup for a relatable character. Despite voice problems for J. Jonah and substandard art, there's enough here to want to know more.

Silk #2 is a nice, pleasant, safe comic. Safety is the high point and its downfall because the character beats and relationship building works well enough but the threat level from a centuries-old witch is treated as no more than an inconvenience.

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.

Spider-Man #1 is a #1 issue in numbering only. Readers are dropped into the Spider-Verse and ASM storylines to bring the Spider-Verse to a close with a multiversal threat. The dialog is solid (except for Spider-Man's terrible jokes), and the threats have weight, so there's enough interest to warrant picking up the next issue. However, this is not recommended for new Spidey readers.

Spider-Man #2 is an acceptable entry in the series that relies almost entirely on exposition, explanations, and setup to get readers up to speed and characters in place. There's minimal action, and the pacing is almost too high, but the narrative stays clear throughout.

Spider-Man #3 is loud, wild, crazy, and chaotic. That may or may not be a good thing, depending on your point of view. If all you want is wall-to-wall action, you're in for a treat. Readers who want more drama and depth should look elsewhere.

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.

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.

Thunderbolts #4 finally gets around to introducing a threat that puts the whole team out of commission at the end of the penultimate issue. Hawkeye's dream world is everything he could hope for and more, but the nature, origin, and motivation behind the attack are completely unknown, which is a rough place to start going into a finale.

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.

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.

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.

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.

Final ThoughtsWay of X #4 is becoming a prime example of storytelling that poses thought-provoking discussion topics, but by not answering the questions in Nightcrawler's mind, the story is beginning to fall flat. The reader doesn't have to agree with the answer, but the main character eventually has to to make a choice about where he's going. Otherwise, the main character, much like this series, starts to go nowhere.

Alien #3 hits all the tropes of an Alien story, continues the main thread of a terrorist attack, but lacks enough structure to feel like you're reading something that could be a standalone chapter. I like the art, and the visual tone of an Alien story is there, but the storytelling structure falls short.

Final ThoughtsAvengers Mech Strike #1 is an above average toy ad disguised as a comic book. The art is better than expected for a paper thin plot, but the overly convenient setup seems to only exist to get to the cool mech suits. If you like action figure smashing and don't want to think while reading, Marvel's got you covered.

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.

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 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.

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.

Final Thoughts:A.X.E.: Judgment Day #5 looks great, sounds big, and feels important. There are plenty of spectacles and human emotion to keep you riveted to the page with every turn. However, the actual plot has barely moved more than a few steps when you consider the heroes' new plan is the same as the old plan. Come for the heart and the visuals, but don't bother if you're looking for a plot that takes up more than a few pages.

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.

Amazing Spider-Man #7 enters into a new arc with Wells doing what Wells seems to do best, reinvigorate villains. This time, Vulture gets his moment to shine, and it's a doozy. That said, Wells's weakness lies in showing consequences and aftermaths to events you never see or are explained, so Vulture's motivations are suspect. In short, a deadly Vulture battling Spider-Man is a sight to behold, but the poor setup in the writing hinders more than it helps.

Amazing Spider-Man #11 is a serviceable, vanilla, sedate Spider-Man adventure where the Hobgoblin shows up to create problems just when Peter's life is turning around. The art is very good, but the story lacks wow moments or resolution for the long-standing issue #1 mysteries.

Final Thoughts:Amazing Spider-Man #13 is a quick, serviceable, standard Spider-Man battle that deals with the present threat and plants seeds for a more significant challenge on the horizon. This issue is better than forgettable, but it feels like Wells is simply going through the motions.

Amazing Spider-Man #17 abandons any sense of urgency, drama, or stakes for the Dark Web event by turning Peter Parker's forced visit to Limbo into a poorly written Rick & Morty episode. The art is great, and the character designs are interesting, but the plot doesn't make sense.

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.

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.

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.

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.

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.

Black Panther #3 looks great and has a couple of slick action scenes but the net progress of the story doesn't get very far. Riley seems intent on using this issue to build out relationships and share feelings without making any progress on the conflict at hand, and while that makes for an interesting character issue, some may view it as 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.

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.

Bits and PiecesCaptain America/Iron Man #5 ends the mini-series somewhat neatly with great art, great action, and a complete ending that leaves the door open for more. That said, the great art and action are put up against a convoluted plan and confusing characters for a generally mixed arc.

Final Thoughts:Captain America: Sentinel of Liberty #2 unwraps a secret cabal powerful enough to wield power over every other secret organization on Earth, both good and evil. The pacing is excellent, the dialog (except for an inexcusable line that comes off as an insult) is natural, and the plot has plenty of meat on the bone. However, the main villain reveal feels like another “been there, done that” retread that sucks all the creative potential out of the series.

Captain America: Sentinel of Liberty #3 ticks all the technical checkboxes for what you want to see in a Captain America comic. Cap's "voice is right, the action is energetic, and the stakes are high. However, the big revelation hinges on a very large plothole, and the villain's identity is remarkably unoriginal.

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.

Captain Carter #3 has excellent plotting, pacing, dialog, and action. Unfortunately, it's almost a direct copy of Captain America: Winter Soldier (2014) with a British setting, which misses the whole point of "What If?. If all you want is an excuse to see Captain Carter in action, this issue is fine. If you want a little more imagination in your Elseworlds story, skip this one.

Children Of The Atom #2 is telling a story that's going nowhere fast. You get the impression there's going to be some big reveal or point made with cosplayers pretending they're mutants when they're not. If you've read issue #1, you can skip issue #2 and hope #3 goes somewhere. This issue still gets a 6.5 for the excellent art by Chang and team. At the very least, it's a good looking comic

Final Thoughts Children of the Atom #3 contains good art, but the plot structure and execution is a confusing blob. You get the impression the writer is eventually getting to some point or big reveal, but whatever it is, the painful journey is making it hard to get there.

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.

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.

Crypt of Shadows #1 is a mixed-bag anthology with a few hits but mostly misses. On the whole, the art is solid, and the stories pull together an eclectic collection of ideas, but several stories suffer from not enough page space or not enough writing quality.

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.

Daredevil #8 gives readers the big battle readers have been waiting for. While the action lives up to the hype, it's hard to follow who's saying what, and the power mismatch between Punisher and Daredevil doesn't make sense.

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.

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.

The art is excellent. The fight scenes are well-choreographed, there's plenty of energy in the action, and the coloring is outstanding. If the story would bring readers something new or interesting, this would be a top-tier comic.

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.

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.

Fantastic Four #4 answers the big question about the incident in Manhattan that forced the FF apart. Unfortunately, the answer is treated as a throwaway flashback that won't lead to anything other than more FF adventures on the road.

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.

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.

Genis-Vell: Captain Marvel #3 has plenty of interesting developments and outstanding art, but after three issues, the plot is unclear and directionless. There's still time to build momentum in a particular direction, but this issue feels like the story hasn't figured itself out yet.

Ghost Rider #7 is a serviceable issue that's more setup than story. Blaze and Warroad are simply moved into place as partners to face what's coming while Blackheart creates a new lieutenant that may or may not look cool, depending on your affinity for the Power Rangers. But for these two plot points, you could skip this issue and not miss anything.

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 #1 starts a new adventure for Patsy Walker when she's arrested for the brutal murder of her boyfriend. The bits and pieces of Patsy's life make for a good jumping-on point, and the murder mystery is set up well, but the pacing is dull, and the stylized art makes Patsy look like a glum sadsack.

Final ThoughtsHulk #2 has a lot of cool action set pieces and an unexpected twist ending… and not much else. It's too early to say if this new take on Hulk is a winner or a loser after just two issues, but Cates needs to give readers something more to invest in beyond piles of questions and ultra-violence.

Bits and PiecesHulk #6 concludes the arc with gripping tension and epic battles offset with too many unresolved plot points and confusing developments. If Cates's plan was to keep readers hooked by playing coy, that wasn't the right choice. Overall, this issue keeps your attention but be prepared to come away with plenty of frustration.

Hulk #8 (2022), and the Banner of War arc as a whole, seems geared to do little else but set up big Hulk fights with any semblance of the story added as an afterthought. If all you want is to see Hulk smash, you'll love this issue. If you want some meat with your potatoes, look elsewhere.

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.

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 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.

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.

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.

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.

Bits and PiecesIron Fist #1 takes all the gravity and drama surrounding Danny Rand's “fish out of water” story and replaces it with a cardboard cutout character who everybody loves. His powers are unearned, he dresses like Iron Fist because he can, and the strong art only serves to dress up a bland, boring, homogeneous, replacement hero.

Final Thoughts:Iron Fist #5 ends the arc without ending the story, and that sentiment exemplifies the series so far. The story is just there. Some confusing bits are clarified, new confusion is introduced, and the ending isn't really an ending. The art is solid, but the story, so far, has yet to justify the Iron Fist mantle swap or its own existence.

Bit and PiecesMoon Knight #9 is a serviceable, stand-alone issue that struggles to re-establish momentum, partly lost from the Devil's Reign tie-in and partly lost due to excessively decompressed storytelling. The art looks great and reads great, but the theme of the story is almost non-existent, and MacKay needs to get something going if he wants to keep readers invested.

Moon Knight #20 starts a new arc with a trail of death and a pair of long-forgotten villain cameos to put Moon Knight on the trail of a murderous mastermind. The art is spectacular, and the mystery has a decent amount of curiosity baked in, but the execution feels rushed, and that extra dollar you're paying is justified with a mediocre and pointless backup.

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.

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.

Moon Knight: Black, White & Blood #1 is the latest title to cash in on the Blac/White/Red motif with a mixed bag of collected short stories. The stories range from amusing to painfully gimmicky, but Moon Knight fans will likely find something in here to enjoy.

Moon Knight: Black, White & Blood #2 is a serviceable anthology highlighting the Fist of Khnoshu's exploits. As with most anthologies, it's a mixed bag of writing that ranges from weak to decent and art that ranges from weak to very good. If you're a Moon Knight completist, this may be worth your time. For everyone else, there's nothing special in this issue.

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.

Namor: Conquered Shores #3 deepens the mystery behind the Human Torch's presence and deepens the feelings of mistrust between Namor and his allies. The pacing is solid, and the reveals are surprising, but the plot direction isn't very clear, and the dialog is very stiff.

Namor: Conquered Shores #5 concludes the limited run with jaw-dropping art, dramatic moments, and a few surprises. However, the ending ignores most of the problems made worse by the adventure, so your satisfaction with the conclusion may fall short.

Planet Hulk: Worldbreaker #2 spends plenty of time building out the characters and the world of Sakaar a thousand years from now, but the plot takes a long road to get to the meat of the story. In isolation, there's nothing technically wrong with this issue, but nothing in this issue grabs your attention or gets you excited for more.

Planet Hulk: Worldbreaker #3 takes big steps forward in the plot to take the fight to the Grand Priestess in a bid to save the Haarg children. However, the GrandPriestess's grand plan is revealed in full, and it doesn't pay off the build-up, leaving you with an unsatisfied feeling that this series was just another excuse for Hulk smashing..

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.

Predator #5 is an uneven mix of high-drama moments, and long scenes that pad out the story with filler. The art is excellent, and the cliffhanger is high with anticipation, but you get the feeling Brisson misjudged the story time and filled the issue with fluff to get the page count to work out.

Punisher #8 gives Frank Castle a mild upgrade and continues to flesh out his backstory with his wife. The art is excellent, and the showdown promises to be epic, but the glacial pacing and lack of plot movement kill the energy and momentum heading into the war.

Punisher #10 has plenty of emotional weight and flying body parts, but the plot is practically at a standstill. If you enjoy Punisher comics simply for the violence, you may enjoy this one. For readers who want a story to back up the shock value, you may be disappointed.

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.

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.

Secret Invasion #1 is a serviceable start to the latest attempt by the Skrulls to infiltrate the seats of power and take over the world. The issue gets off to a bumpy start, but once the plot is discovered, the pacing keeps the story flowing briskly and evenly. However, Maria Hill and her colleagues handle the situation a little too well, removing any feelings of paranoia or tension.

Secret Invasion #5 ends the arc with a lot of gotchas, exposition dialog, twists, and bait-and-switch maneuvering. The Skrull's plot is well executed, but the way the heroes save the day is thin on believable details and heavy on convenient contrivances.

She-Hulk #10 returns the series to its roots with a slice-of-life romance scenario that finds She-Hulk moping over Jack of Hearts' disappearance. There is no plot, there is no action, and there is no purpose to this comic other than for the readers to be there for Jen in her time of need.

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.

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.

Spider-Man #5 takes an odd detour in the Spider-Verse-ending event to visit a pocket universe where Peter Parker's life turned out very differently. The story makes for an intriguing “What if…?” but the detour kills the momentum of the main plot for a story that could have been covered in a couple of pages.

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 #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.

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.

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.

Spider-Man 2099: Exodus #1 does a fine job of introducing readers to Winter Soldier 2099 and nothing else. The art is good, WS99's design and backstory are cool, and there's plenty of action to hold your attention. However, the plot makes little sense when you pick it apart, and this issue has almost nothing to do with Spider-Man 2099 and his conflict with the Cabal.

Spider-Man 2099: Exodus #2 makes the bold move of telling two issues in a row in a Spider-Man 2099 arc that have nothing to do with Spider-Man 2099. the art is very good, and this new origin story about Valkyrie 2099 is interesting enough, but the timing of events is out of whack, and the main arc is at a complete standstill.

You can't be following this series without concluding Spider-Man 2099: Exodus #3 isn't a Spider-Man 2099 comic but an excuse to introduce even more 2099 variants of current Marvel characters. There is a small amount of plot progression in this issue, but make no mistake, this series only exists to create new characters under the guise of a paper-thin plot. If you like alternate character designs and eye candy, this one is for you.

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.

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.

Final ThoughtsThe Thing #1 is an amusing trip back to the simpler days of the Fantastic Four with an adventure focused on the blue-eyed Thing. The art is great and the writing perfectly captures the character voice of the titular hero. That said, the plot is a jumbled, chaotic mess with events happening at random without reason or explanation.

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.

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).

Bits and PiecesAlien #10 feels like the series is trending in the wrong direction. The religious elements Johnson created for this arc feel like cheap copies of religions we already know, the “new” Xenomorphs introduced in this issue don't make a lick of sense, and the generally good art looks, in some spots, looks like somebody pasted word balloons on portrait photographs.

Alien #12 ends the arc on a mediocre note. The surprise revelations are neither new nor surprising, and the few bits that are truly new seem irrelevant to the main story. The art is serviceable in closeups and focused panels, but the splash panels look awful in a few places.

Amazing Spider-Man #14 sets up the Dark Web event with a Spider-Man-free issue that focuses entirely on Ben Reilly. The plan Ben devises with Janine, and Madelyne is audacious, but this issue is just planning. Did this need to be an Amazing Spider-Man comic? No, it should have been a one-shot or zero-issue, but at least you get a taste of what's in store for the Dark Web event.

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

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.

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.

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.

Black Knight: Curse of the Ebony Blade #4 is all revelation that we mostly knew, and takes a hard left into "this random character, who's done nothing for the entire run, is actually the most important character" territory. Just when you think you get a talented writer to do something important with a neglected character, it was all a big setup to throw that character away. At least the art is great.

Black Panther #11 starts the next arc of Ridley's run by bizarrely forcing T'Challa to consider whether or not he agrees with terrorists as long as they have good intentions. The pacing and plotting are excellent, but T'Challa's continued maltreatment at the hands of Ridley verges on shocking.

Black Panther #12 is more setup and exposition than story as the big villain behind the last 12 issues is finally revealed, and everyone is upset with T'Challa. The art is solid, filled with angsty expressions of shame and disappointment, but Ridley's story seems more concerned with badgering T'Calla to death rather than getting the heroes to rise above the past to confront the present threat.

Black Panther #15 ends the series the only way it can, with an anti-climactic end to Jhai's attack and a 12-page epilogue for everyone to say goodbye. If you've loved Ridley's run, this ending is more of the same. For everyone else, this issue is a waste of time.

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.

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.

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.

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

Blade: Vampire Nation #1 gives readers an informational tour of the inner workings of Dracula's Vampire Nation, wrapped in a bland, low-tension murder mystery. The art is excellent, but the story lacks stakes, urgency, or energy beyond the prologue.

Bloodline: Daughter of Blade #2 is a mild improvement over issue #1. The pacing and dialog are significantly better, and the story is moving, but the plot is amateurish and completely lacking in character motivations or setup.

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 #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.

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.