Overall, however, this is a great start to a miniseries that any 24 fan will enjoy reading. Even if you don't like the show or never watched it, the strong dialogue from Brisson and great artwork by Gaydos are weaving a conspiracy thriller that any lover of great stories has a decent chance of enjoying. You should definitely pick this one up.

He's doing pretty well with all of that taken into consideration, but the tale still feels so by the numbers that it's maddening.Jack tries to be happy and free of his old life, Jack gets pulled back in.Jack tries to love someone, that person ends up getting hurt.We've seen it all before"and since this is a prequel, we know pretty much exactly how it's going to end.

Gaydos' pencils continue to be impressive, although at times the shadowy settings makes a few panels feel disjointed. It all adds up to a by the numbers 24 story that is still pretty enjoyable.

I was genuinely surprised by the ending, which is saying something considering that this is a prequel. Despite the fact that I haven't really enjoyed the television show, I am interested in seeing how this story will end.

It all adds up to a decent and fun series for fans of 24. I guess I'm still technically a fan, but I didn't really enjoy the last iteration of the television series at all. Fortunately, the comic was a lot more fun to read"even if it did take way too long to come out"and caused me to get beaten up by my editor.

If you're still on the fence about this one, don't make the same mistake I did. Do yourself a favor and start diving into one might be one of the best horror comics ever created.

Sometimes I feel like a revival preacher shouting about how great this series is, but that's because I used to be a nonbeliever. I ignored all the other great reviews with the snobbish refrain of "Yeah, but it's Archie." If you're like me and have been ignoring Afterlife with Archie for the same reason, stop what you're doing and go pick it up right now. If you don't like it, I'll owe you a soda at Pop Tate's.

If you do read/have read the original Archie series, however, then there are plenty of cool easter eggs and hidden narrative threads to enhance your experience. Either way, Afterlife with Archie remains a top shelf horror comic. Add it to your pull list today"which will hopefully have more than one new issue added to it this year.

Still though, I enjoyed getting to see Aguirre-Sacasa's dark take on the best girl band in comics (deal with it, JEM). It makes for a good tale, but not exactly a great one"which is what we've come to expect from Afterlife with Archie.

By the time Airboy actually shows up, I wasn't sure whether the issue was too long or too short (I'm sticking with too short at 17 pages). Fortunately, the fantastic dialogue by Robinson and Hinkle's wonderfully expressive art gives us plenty of reason to believe this will quickly become a very fun series to read.

It's jarring enough to detract from the issue's many strong points (including Hinkle's wonderful art), but not enough to sink it. It also looks like the series' final issue is going to be completely crazy"which is really saying something considering how the last three have been.

The fictional versions of Robinson/Hinkle may be hard to like, but by the end of the series, you feel okay rooting for them.

I normally enjoy Wood's writing and I love the Aliens franchise (except for the last few movies), so it's probably worth sticking around to see how the next issue is. If next month doesn't give us something different, however, you may want to nuke this title from your pull list.

All that said, the story itself still feels pretty generic. It's still good, but nothing that we haven't seen before from this franchise. If Aliens: Defiance ends up just being Hendricks and her droid crew shooting up xenomorphs for three more issues, then I'm actually okay with that–especially with Jones on the art duties. But it would be nice to see such a great new character have a bit more of an interesting/different story. Maybe we'll get to see more of Hendricks' days in the Colonial Marines via flashback. Either way, I'm now fully on board for the ride.

Add in some nice call backs to other parts of the mythos, and you've got a book right that started strong and has steadily gotten better. The erratic shipping schedule and changing art styles may be hard to follow, but the great story makes Aliens: Defiance worth a spot on your pull list.

All that being said, however, the main story is still a lot of fun. Despite there not being a lot of action, Tristan Jones gets plenty of opportunities to draw his beautifully grostesque xenomorphs. We also end up with an interesting new character and one hell of a moral quandary for Hendricks (which we saw in the first four pages, but whatever). It's a shame that such a great story had to be sidetracked by sequencing issues, but it's still plenty good enough to enjoy.

If you're looking for a good Alien fix while we wait for the Prometheus movies to step aside (and let Neill Blomkamp take over the franchise), then Aliens: Defiance is just what the medical android ordered.

So once again, Aliens: Defiance continues to make its case as one of the best (potentially THE best?) Alien franchise comics. Great story, fantastic art, and you get to see an android punch a baby xenomorph in the face. What more could you ask for in a comic?

Aliens: Defiance #8 isn't a bad issue by any means. But a series this good shouldn't need to waste most of its pages on something that won't even matter by the last one. Heck, I would have rather gotten a full issue of Hendricks' backstory, especially since what we did see was so good. As it stands, however, the issue ends up being comparatively weak chapter in an otherwise superb series.

Now that we've passed the point we all knew would come, it will be interesting to see what Aliens: Defiance decides to do with this wonderfully developed cast of characters. Whatever that is, though, it will surely involve a fight with an Alien Queen, which I think we can all agree is something to be excited about.

A heaping helping of the all too common 'Androids Are People, Too' trope, but it's executed exceptionally well.

Aside from artist Eduardo Francisco's thrilling opening sequence (and some fantastic looking flashbacks/nightmares), Aliens Defiance #11 is by far the weakest issue in the otherwise stellar series.

Aliens: Defiance is still a great series, but it ended with a fraction of the strength it began with

Unfortunately, that particular character's fate will have to remain a mystery"to me, at least. I'm tapping out of this one early. Aliens: Life and Death just isn't very new reader friendly"although the fact that I got bored/distracted by a story consisting of colonial marines blasting their way through a horde of xenomorphs could be a considered a troubling sign for even the most dedicated fans of franchise.

None of this is to say that the issue is bad. It's still Snyder writing Batman throwing down against a host of A, B, C, and D-list villains"all against the backdrop of a truly chilling premise. I also appreciate his willingness to experiment with unconventional ideas and story-telling techniques. Maybe this one in particular will eventually grow on me. For now, however, it feels like an unwelcome distraction from an otherwise excellent tale.

Add all that to a gut wrenching cliffhanger"and the most hilarious appearance of a criminal organization you could ask for"and All-Star Batman #3 is a perfect example of just how great this book can be.

If you've been enjoying All-Star Batman so far (like I have), then this issue is definitely still worth picking up. Let's just hope that next month sees it return to its previous exemplary form.

If you read all of the issues in this story arc back-to-back, I think you'll agree that the journey was a whole more entertaining/interesting than the destination. Considering the road trip theme running through it, that just might be exactly how Snyder planned it.

But aside from that (and the aforementioned POV issues), All-Star Batman is pretty much everything you want from a series like this: Great creators doing a fresh story with classic characters. Also, I can't go without giving my monthly props to the issue's backup story, “The Cursed Wheel”. Having Snyder and Francisco Francavilla creating any sort of Batman tale is cool, but the fact that it makes me"an unabashed Robin/Batman sidekick hater"like Duke more with every chapter is a pleasant and highly enjoyable surprise.

So yeah, I liked a Poison Ivy story. Kind of loved it, actually. Considering that next month's issue features a villain I already like, All-Star Batman may finally be starting to take its place as my go-to Bat title.

A stylishly executed, but ultimately predictable story.

All-Star Batman #9 is both a near perfect final act and a great story on its own.

If this issue is an indication of things to come, then The First Ally might be a lot more than the introduction of a new Batman villain"it could also turn out to be a classic.

A fun and exciting issue that loses some of its luster due to a few glaring plot contrivances.

The First Ally begins to make a case for being All-Star Batman's best story arc yet.

Alfred may be singing the same old song, but rarely has it ever sounded this good.

A heartfelt tribute to Alfred's awesomeness wrapped inside a badass swashbuckling tale.

Combine that with Jackal's fantastic characterization, and Amazing Spider-Man #20 is still worth picking up"just maybe not the best candidate for cloning.

Other than that, though, Amazing Spider-Man #21 is an enjoyable and revealing piece of the Clone Conspiracy puzzle. It's also proof that a big serious event stories can still have plenty of heart"and be a lot of fun.

No matter how uneasy it makes you feel to have clones invading Peter Parker's life again, you have to give credit to the Slott and the rest of the Spider-Man writers for (so far) making The Clone Conspiracy a highly entertaining event.

And those final pages"oh man. They will definitely have you screaming along with Peter at the top of your lungs"or maybe that's just me. Either way, I'm not allowed in that coffee shop anymore. But event tie-ins as good as this one can have a place on my pull list anytime.

I'm also highly intrigued to see how things with Ben Reilly and another major returned villain (you can probably guess who) now that they are back in the Marvel Universe. Both characters have been through some major events"including their own deaths"which have changed them drastically from the last time they were regular members of the Spider-Man cast. Even if the big fights in this issue were somewhat lackluster, the plot threads emerging from its aftermath should be all types of fun to watch unfold.

Not exactly worth $10, but enough good stories and great art to be worth picking up.

Lots of great action, but a weak and nonsensical narrative undermine what should have been a thrilling issue

What starts as a great issue fizzles out considerably at the end due to some contrived script decisions (but at least Doc Ock looks all types of awesome).

Unfortunately, the script for Amazing Spider-Man #30 leaves much to be desired. Let's hope this is just a bump in the road for the title and not sign of things to come.

As telegraphed and and predictable as this story was, it could have been a whole lot worse. Thankfully, a neat twist near the end and some wonderful artwork by Greg Smallwood actually made it somewhat enjoyable. Also, I must admit that the issue's lone action scene was pretty fun.

My expert opinion/advice (which is always right 50% of the time): Amazing Spider-man Annual #1 isn't perfect, but plenty good enough that everyone will find something they like. If you've got Amazing Spider-Man on your pull list already, then make sure your shop includes the annuals"at least for this one.

All that said, Conway does do a great job establishing a strong dynamic among the Parkers, both as a family and a force for good. We also get the appearance of two classic villains, which ups the nostalgia factor (in a good way) to an already old school-feeling issue. Add in Stegman's aforementioned gorgeous artwork (including the chance to see him draw a dinosaur attacking New York), and this one's still worth picking up. Let's just hope things start to ramp up now that all the familial cards are on the table.

In Conway's defense, however, the character work really is great. If the story seeds he's can intertwine themselves with the rest of the script, then Renew Your Vows could go from a "fun" book to a classic. Either way, though, it's still a good read if you're a Spidey fan.

But aside from that, Amazing Spider-Man: Renew Your Vows #3 is definitely worth a spot on your pull list. Whether you were for or against the original Pete and MJ marriage, this series has proven that it's something any Spider-fan will enjoy.

For now, though, Renew Your Vows continues to be a gorgeously drawn bit of comfort food in a market dominated by dark and gloomy titles.

Gerry Conway and Ryan Stegman have taken the perfect Spider-fan comfort food and added just the right amount of spice.

Conway and Stegman utilize the alternate universe conceit to create a narrative where we truly don't know what's going to happen next.

Despite some great art and cool fight sequences, it feels like Normie's going down the same goblin path of despair we've seen a million times before.

A solid "first" issue that you'll enjoy a lot more if you read Angel #0 beforehand.

Angel continues to change just enough to make the reboot worthwhile and intriguing while retaining the original series' core elements and feel.

A wonderfully fresh and terrifying tale framed against Angel's two greatest foes: His past and his present.

While not as strong as last issue, Angel #4 still provides a very solid and highly entertaining to the series' first story arc.

Angel #5 does a truly fantastic job setting things up while continuing to move the story forward.

Even if you're not an Angel fan from back in the day, you'll definitely want to see more of Gunn and Spike together next month. And if you are an old school Angel fan, then get ready to sing your heart out, baby.

A solid/fun issue, but the narrative is overshadowed by the many questions it leaves us with.

Having Spike and Angel in the same room does make for some great dialogue -- one of the many reasons Angel fans should be excited for this new story arc and the new direction for this already superb title.

As far as the story goes, Kang tales are always tricky. The guy can travel through the timestream, but still manages to get his ass kicked every time he takes on the Avengers. To Waid's credit, he gives this go around an intriguing kick (and does an exceptional job tying with Vision's recent history). But it's still not enough to keep this from feeling painfully similar to virtually every other Kang story we've seen before.

So all in all, I'd say this event is on the right track to (actually) be good. Sure, my expectations may have been low going in, but my self-righteous sense of EVENT FATIGUE was on full alert and ready to complain. Instead, I ended up with a story that has me excited to read the next installment.

But all that being said"I liked what I saw enough to stay onboard and try to catch up.

In the end, I'd say this is definitely a story that hardcore Batman fans need to pick up, if only for the great art and Batman/Joker interactions. Otherwise, the more casual reader can probably skip this it"unless you want to see a beautiful portrait of Europe through two very demented perspectives.

I don't know if Peter David is having the most fun he ever has writing this character, but it sure does feel that way.

Whether you believe Marvel or not that it was always the plan to revert Ben Reilly to his classic threads, Peter David manages to get the character back into his old costume in one of the most brilliant ways imaginable.

It's by far the weakest issue of the series, but some great moments and one heck of a cliffhanger still make for an entertaining read.

A series that has thrived on flipping superhero tropes on their head stumbles right into them this month.

The art is still great, but the series has taken a severe nosedive from the brilliance of its first five issues.

A disjointed plot and a less interesting Ben Reilly continue to drop this book from the brilliance of its opening story arc.

Overall, I'd say that Blood Blister #1 shows more than enough promise to keep on your pull list"even if the first issue is a bit of a letdown as far as the actual story is concerned. Any comic featuring gigantic carnivorous demon babies is definitely worth a second look.

Yes, the plan on how Angel and Buffy are supposed to fight this is still incredibly vague. And yes, a demon that manifests itself as the protagonists' loved ones/people they couldn't save is tired and well-worn territory. But when it's being drawn by Carlini and buffeted by some truly enjoyable dialogue, it's enough to make you feel like the Buffyverse might finally be opening up along with the new Hellmouth.

Great art and a compelling story are nearly derailed by a host of side conflicts.

As far as the Big Bad is concerned, it's gone from something that felt potentially new and exciting to a fairly boring remix. Perhaps I'll be proven wrong next issue"I hope so. For now, however, I'm much more interested in seeing Buffy and Angel interact again than seeing how this particular story ends.

Great art and writing still result in a flat story.

It will be interesting to see how they resolve this, especially with regards to Chthon. Will it be a stand up fight, or something more mystical? Either way, Carnage #15 will make symbiote and Lovecraft fans go mad with glee.

I really hate giving the final issue of this series a mediocre review, especially since I enjoyed the rest of it so much. Even with this disappointing final chapter taken into account, Carnage was a much better book than I imagined it could be"a wonderful dose of cosmic horror spiked with one of the darkest elements from Marvel's rogue gallery.

Layman's Poyo-centered stories are always on the silly side, but they're also well crafted. This one is no exception. In fact, it may be my favorite Poyo story to date. Or maybe I just miss him being a main part of the Chew series. Either way, this isn't just some throwaway joke issue. Part of Poyo's awesomeness is mostly built on the many allusions/assumptions about his legendary exploits. This story finally gives the reader a front row seat to the show. Pulling the veil back like that could have easily resulted a major let down. Instead, Poyo grabs your lofty expectations, crushes its windpipe, and chucks it through a wall of hellfire into another dimension.

Now don't get me wrong; it's going to take a lot more than a great set up to keep this thing going. Faerber's eventually going to have to give us something new for Copperhead to really take off. But for now, this by the numbers painting has the potential to become a masterpiece.

But that sin is easily forgiven by the previously mentioned attributes, along with Faeber's wonderful dialogue/chemistry between Bronson and Boo and Godlewski's gorgeous pencils. If you haven't taken a trip to Copperhead yet, then it's time to board the bandwagon before it gets full.

But other than that, there's hardly anything to dislike about this issue or the previous ones, either. The series is turning into a master class on world building, character development, and most importantly, storytelling. If you aren't picking Copperhead up already, go add it to your pull list today. It's so good, you might just find yourself buying it twice.

But that's about it. Otherwise, Copperhead shows no signs of slowing down or riding the coat tails of its Breakout Hit Honeymoon. The story, characters, and universe in which the series resides continues to get more interesting and enjoyable with every issue.

Do you like sci-fi? Do you like westerns? Do you like well-crafted stories told through great dialogue and beautiful artwork? If so, Copperhead needs to be on your pull list.

If all that sounded like nitpicking, though, it totally is. There's honestly just not much to dislike about this issue" or the entire series. Spring may have brought us pollen and unseasonably cold weather, but it's also brings the return of one of the best looking, best written comics being published right now.

With a new chapter exploring more of Bronson's backstory while ramping up the threats and world building, Copperhead should continue to be a mandatory part of your pull list.

As usual, the artwork by Godlewski is superb. This issue does suffer a bit without having Clara in it, but not as much as you would figure. Faerber makes the most of Boo's predicament to give us yet another enjoyable installment in this series.

I did, however, like the way this issue's narrative synced up with the last one. We got some answers about who attacked Boo's captors and there were some interesting parallels drawn between the two groups. It should be really fun to see how everything hits the fan next month with Boo and Clara both inside the outlaw town's gates"but I'm still a lot more interested the storyline from the beginning of the issue.

And that last page"hoo boy"that's a stunner. When I thought back on this issue before writing my review, it was the very first thing that came to mind"instead of the main story. Hopefully, my (admittedly peculiar) issue with the side plot distracting from the main one won't be a problem with the next arc, since it looks like that particular (and brilliant) narrative thread is going to be front and center.

On one hand, I'm excited that the subplot about Clay's escape is finally coming to fruition. But as far as this story arc is concerned, some of Boo's decisions left me scratching my head. His and Clara's antagonism toward each other has always been one of the best parts of the series, but this feels like a major step backward from how things has seemed to progress between them before the series went on hiatus.

The mayor murder mystery has been effectively buried under a dust storm of bad character development and tedious interactions.

The decent murder mystery at the heart of the story is overshadowed by the sharp dip in script quality since Copperhead returned from its hiatus

Despite the long awaited arrival of a major plot point, Copperhead is still a shell of the great book it used to be.

The issue is kind of meh, but the story it sets up may finally make things in Copperhead interesting again.

Not great, but much closer to the series' previous level of excellence than we've seen in a long time.

Otherwise, this was a perfectly fine horror comic. Could it end up being great? Absolutely, especially with such a talented and capable group of folks making it. I may not have been floored by the first issue, but it was still plenty good enough to make me want to see what happens next month.

It's enough to make me want to stick with the series, but I'm losing interest faster that Niles is losing his grip on reality.

Death Head is by no means a lost cause. This issue's opening and closing scene proves that. Nick and Zack have proven that they can create a genuinely creepy atmosphere, offer unique perspectives, and hook us into a desperate state of curiosity about what happens next. Unfortunately, those talents were relegated to the bookends of an otherwise mediocre read.

If the Kellers can tie those all together, however, (which it looks like they are going to do soon), then this book might finally have me under its spell.

What's really frustrating is the Kellers set up that cliffhanger with a really beautiful moment. These guys can write some great scenes (like the opening), but the overall plot is starting to slip away. It's getting to the point where the mystery of the Plague Doctor(s) is becoming more irritating than intriguing"although I did find a couple of Dad and Gas Mask's discoveries pretty interesting. Let's hope Death Head can start giving us some better information (and page layouts) in 2016.

I will admit that the ending has me intrigued at the possibility of a sequel, but not desperate for it. I'd rather see this creative team build on the flashes of great talent they displayed with a fresh start on a new project.

As it stands now, however, this was simply a well-crafted issue that's enjoyable enough warrant a return ticket for issue #2, where I have a feeling we'll really see just how good this series might (or might not) be.

It makes this comic very hard to judge because there is so much to like and so much to be wary of. Is it good? I honestly don't know yet. Will I be back next month to keep finding out? Hell yes.

So yeah"still not sold on this series, but not ready to give up on it, either.

This leaves both sides of Deep State's coin spinning wildly on its edge. There's a great book here (with a lot of talent behind it), but the creative team needs slow down and find their voice for it to happen.

Maybe I'm being selfish, but this issue is the series I want. Sure, there wasn't a ton of action, but the whole thing so dang good and well-paced. Maybe the creative team is finding their footing"maybe I'm just finally coming around" but Deep State #6 might be the magic bullet this title needs.

I will say that I like the idea of the program being used to 'push' people towards the control directives. It's much better than the usual mind control tropes and opens up some cool story possibilities"which we will hopefully get to see in the next issue.

Whether Deep State gets a second season or not (and it should), congratulations to the creative team on a job well done. You definitely won me over.

A great start to a potentially fantastic story arc for old and new Batman fans alike.

Another intriguing and exciting issue that examines Batman's bizarre penchant for having a host of acolytes and sidekicks.

Despite a few bumps in the narrative, Detective Comics #985 moves Karma--and the story--into the realm where you truly fear what might happen next.

Good thing Batman has some badass help, but there's no way he's beating Karma without them.

Not as explosive as the last issue, but still a great conclusion to a fantastic story arc.

Also, I'd like to note that my fellow reviewer and not-so-secret mancrush David Brooke has been telling me for a while to give Valiant books a try. If the level of quality found in Divinity #1 is the norm, I'll definitely need to pick up some more of their titles in the future.

But those issues aside, the creative team behind this one is giving us a fascinating tale of high-minded science fiction grounded in the most basic of human emotions. It's beautiful to look at, fun to read, and easily hooks you for the third issue. If you like great science fiction"or just great comics in general"then you should be reading Divinity.

What I don't love is the lens through which Divinity's potential threat is being viewed. Unity might be a really cool team/title on its own, but it just doesn't feel right here. It's not enough to make this a bad issue by any stretch, but it definitely keeps it from being great (It's still pretty damn good, though).

As far as Divinity himself, this issue made him seem by far the most human, even compared to how he was before leaving for outer space. The existential crisis he has through the story initially felt very by the 'sci-fi emotion scene by-the-numbers', but Kindt backs it all up with a powerful, soul crushing coda. It was more than enough to ensure that I will definitely be back for Divinity's next appearance.

So yeah, that ending might have worked as a publicity stunt, but it also stuck the landing, making this a gem of an opening issue. I'm all types of excited now to see what happens when hen Volkov and Abrams meet again"and Russia's real life leader/force of nature makes the meeting happen.

On the art side of things, Trevor Hairsine continues to knock it out of the park. He's not given as much cosmic material to work with this time, but still manages to make even the bleakest pages look beautiful"and the fight between the two god people is absolutely superb. Unfortunately, that may be the only one we get if the last few pages hold. Either way, I'm excited to see what happens next"hopefully onscreen/page this time.

Writing a time travel tale is hard. Writing a book in which the two main characters are virtually omnipotent is arguably even harder. Kindt took both and crafted Divinity II #3 into one hell of a good issue.

On the positive side of things, the story's coda was incredibly chilling. It made me want to get Divinity III in my hands immediately. Combine that with Hairsine's wonderful art, and you've still got a pretty good finale. It might not have been as brilliant as the penultimate chapter, but the series has a whole has proven that the Divinity series–and this creative team–can be counted on for thrilling and intelligent science fiction storytelling.

And now that the characters and the basic conflicts have been established, I can't wait to see what happens next to everyone.

Could the major death we see be a trick? Maybe. That seed was definitely planted. But even if it is, the scene that gets us there is so brutal and effective that you can't help but be fully hooked in by it. And considering the fallout its about to cause, I'd say things are about to get a lot worse for the characters"and even better for the readers.

Eden's Fall succeeds where many big crossover event series fail. Instead of throwing the kitchen sink at us for the sake of synergy, it builds off existing plot threads, utilizes the best aspects of each series, and ties it all together into a story that simultaneously stands on it owns and deftly pivots into new ones.

A solid start to what could be a wonderful continuation of the Firefly franchise.

Firefly #2 still has a lot going for it, especially in the humor department, but the story feels much muddier compared to its crackling opening chapter.

Great artwork and an enjoyable story that sadly bears little resemblance to the character from the Firefly series.

If you're any sort of Godzilla fan, you absolutely need to make sure this book is on your pull list. Otherwise, you can go straight to"well, you know".

I was a little disappointed when I realized this miniseries was going to be an anthology instead of a connected story, but this issue officially has me on board with the format. Godzilla may be in Hell, but this book will make his fans feels like they've died and gone to heaven.

Godzilla in Hell #3 is still a good issue, though. Just not a masterpiece like the series has pulled off (twice in row) before.

This was another superb issue in what should be considered a classic Godzilla miniseries. I'll admit to feeling a little sad when I saw the 'To Be Concluded' tag at the end. I've enjoyed watching Big G fight his way through so many gorgeously rendered/imagined hellscapes. Perhaps he'll do enough bad things during the next few years to warrant a return visit some day.

And even if you aren't a Godzilla fan, it's worth purchasing just for the gorgeous artwork. If you are a fan of Big G, however, then watching eternal punishment has never been more thrilling or fun.

This is truly scary and devastating kaiju action" just the way it should be.

This isn't just a big ole monster slugfest, though. Bunn took the opening chapter's simplicity (Monsters Were Gone. Monsters Come Back) and in one ominous panel hooks us with a potentially fascinating story idea. He also uses that story angle to give us a different type of Godzilla. This one isn't our destructive savior or a monster that we root for (yet). It's a vengeful force of nature. That might be a little hard to swallow at first, but it also makes for one heck of a terrifying villain.When you frame all of this great story work with Watcher's art, you get what's shaping up to be a legendary miniseries for one of IDW's biggest franchises. This one could still go off the rails, but right now, Godzilla: Cataclysm is currently providing the Big G comic I desperately wanted after seeing the movie this summer.

If you're new to Godzilla and want a book that you can understand and enjoy without years of mythology and backstory"or if you're a long time fan who just wants a uniquely exciting and fantastic tale about the Toho monsters"this is definitely a series you should be reading.

With an insanely good cliffhanger, a clear plot still hasn't completely tipped its hand, and the promise of its best kaiju smack down yet, there's a very good chance that the only bad thing about the upcoming final issue of Cataclsym will be that the series is over.

It should also go without saying by this point that the art by David Wachter is out of this world. He and Bunn have combined for a classic entry in Godzilla's rich comic history. Whether you're an old school fan of the Toho monsters or just got into it after the 2014, this is a series that you're sure to enjoy.

Let's hope this leads to better things next month.

Add in the fact that this issue has our protagonists doing almost the exact same thing as last issue (with an obvious conclusion looming the whole way), and Godzilla: Oblivion continues to disappoint. Let's hope that the big fight being set up for next issue turns things around.

That said, things even out pretty well by the end of the issue. There's also an excellent cliffhanger that makes me think/hope this series might finally be heading in the right direction. Godzilla: Oblivion #3 isn't anything to write home about, but it's still a whole lot better than what we've seen before.

But as I said before, the cliffhanger at the end of the issue looks potentially mind-blowing. Let's just say that if things play out like they should, then artist Brian Churilla will be wonderfully and completely in his element. He also might be able to salvage this series if the banal human characters can shut up for a while (or maybe just get killed in the first few pages).

If Godzilla: Rage Across Time #1 is an indicator of things to come, then I'm definitely along for the ride.

But overall, this issue is a steep drop in quality from the last one. Let's hope next month's trip to the middle ages provides a bit less monologuing and a lot more Godzilla.

Let's hope that Godzilla's return to the series (which has his name on it) leads to a more enjoyable jaunt through time.

But alas, we're left with another unsatisfying issue of what's turned out to be a surprisingly disappointing miniseries. I was going to tap out on this one, but the next issue is supposed to have Godzilla fighting dinosaurs. Guess I'm sticking with this one until the end of time.

That being said, Godzilla: Rage Across Time #5 is absolutely gorgeous to look at. Also, I have to given credit to Zornow and Fotos for the issue's coda, which was both clever and laugh out loud funny. Unfortunately, it still wasn't enough to save this issue"or the miniseries as a whole. Godzilla: Rage Across Time was a good idea, but it's probably best left to be forgotten by history.

Even though I am not as well-versed in Godzilla's mythology as others, I am enough of a fan to have been more than a little outraged at how he was treated in Roland Emmerich's 1998 crapfest of a film.

With excitement building over the new Godzilla movie that's being released in May, this is the exact wrong time for the kaiju franchise to have just a single ongoing book that only rewards longtime fans.

And for the first time many issues, I'm actually excited about reading the next one.

All these dangling plot threads should make for a very poor issue, but fortunately, the stuff we all came for (awesome monster fights) is delivered in spades. I mean, seriously, I thought that Zornow might have stolen some of Matt Frank's thunder in the last issue, but Frank's work in this one is out of this world.

And as much as I'm knocking the plot, Chris Mowry deserves a lot of credit for choreographing the action sequences so well AND giving us perhaps the coolest opening chapter of the series.Once again, enjoying this book comes down to whether or not the kaiju kick-assery makes reading through the boring side plot stuff worth it. In this issue's case, the answer is a resounding yes.

Overall, this was still an enjoyable story, but it feels like this title could be so much more. I know I'm in the minority on that opinion, but I'm also not the typical reader for this book. Let's hope that more people who come into comic shops after that awesome Godzilla movie from two weeks ago (which I liked much more than my esteemed colleague, David Brooke) find the next arc a bit easier to jump aboard.

This looks like an excellent start to a brand new story for Godzilla: Rulers of Earth. Let's just hope it stays on the rails this time.

Chris Mowry also still manages to keep the plot coherent while providing one heck of a cliffhanger. It's keep this one in the 'good' category" but not by much.

Unfortunately, the major subplot in this new chapter for IDW's Godzilla series is so bad that it detracts from all of the good stuff. The problem isn't the story being too complicated or the characters' action not making sense anymore" it's just the story that frames the monster stuff has become completely absurd.Matt Frank's art and some great fight scenes save this one from being a complete clunker, but with a wonderful Godzilla book like Cataclysm on the stands, the unrealized potential of this title is even more glaring.

My apologies to Chris Mowry, but he is a MUCH better writer than this. Even with the issues of this series I haven't enjoyed, it was still clear that Mowry is a talented and capable scripter. This one, however, fell well below his usual high quality of work. Add in the ever compounding mythology/story issues and you might as well just skip the dialogue all together and enjoy the combined artistic efforts by Matt Frank and Jeff Zornow.Let's hope that next month's issue has Mowry back on his game again" and maybe another instance of GODZILLA SWINGING ANGUIRUS BY HIS TAIL!

It's clear that Chris Mowry has a deep love for these creatures and the universe they inhabit, but understanding and enjoying it as a reader is becoming an increasingly difficult task.

I know that the following issues will probably need to dive back into the Cryog/Space Godzilla/Alien Invasion stuff, but I hope that we see more issues like this one. But even if the series did move in a direction to tell more stories like this (and make me one of the happiest people in the world), the incredible work produced in Godzilla: Rulers of Earth #18 would still be hard to top.

Combine that with another stellar turn on the art duties by Matt Frank and Priscilla Tramontano's brilliant coloring, and I'm enjoying this book more than I have in a very long time. If you're a fan of Godzilla or just great kaiju fights in general, I'm betting you'll dig it, too.

There are still a few elements of the book I'm not very fond of"I have no idea what the hell Space Godzilla has to do with anything and Woods occasionally sounds a bit Shatner-esque. But the book's recent performance has turned the title's impending conclusion from something I previously wouldn't have thought much about into an unexpected source of disappointment. Luckily, we've still got five more issues of Mowry, Frank, Tramontano, and a dash of Zornow to (hopefully) keep blowing the roof of this thing till the very end.

It all adds up for an issue that's still a fun read despite some narrative confusion. But as we head towards an explosive conclusion, I've started to trust Mowry/Frank to make sure those plot points are explained while delivering plenty of kaiju awesomeness.

Let's hope that as the series closes in on its final issue, Woods and Co. can be as interesting (from a character standpoint) as the kaiju"or all get stomped on. Either is fine.

But aside from that, the issue made me just want to get back to LA and see how Godzilla handles his Trilopod doppelgangers. This was a moderately fun diversion, but not compelling enough of a story to leave the series' main event.

They're not bad, though. In fact, there's one panel of Godzilla roaring at the reader that is one of my favorite in the series so far. But other than the incredible last page and a neat Jet Jaguar appearance, it felt pretty run of the mill; for this title, at least. Hopefully the creative team is saving the best fireworks for next month's curtain call.

Unfortunately, this is it for the talented group of folks who put together Godzilla: Rulers of Earth for the last two years. I didn't always like the direction of the book, but I can't deny that it was still a lot of fun. Thank you for bringing Big G and his supporting cast to life. I'm sure we'll see all of you (and him) creating more kaiju chaos very soon.

Now to be fair, Faerber gives a hint about where the series is going in the issue's letter page which definitely sounded interesting. So with that in mind, I'm more than willing to give the second issue a chance (especially with an excellent artist like Beueno attached to it). But if it wasn't for Faerber's name being slapped across the cover, I'd probably be done with the series already.

But other than that, Graveyard Shift #3 makes it two for two in the 'Not Another Stupid Vampire Story' department. I still believe my criticisms about the first issue were valid, but it's well worth taking that medicine to watch Faeber and Bueno use its basic foundation to create something fresh and fun to read.

When it's all said and done, Graveyard Shift is an enjoyable limited series, but might have worked better as an ongoing.

All that being said, the excellent character work and superb art still makes this a solid opening chapter. It's also helped by a really cool one page epilogue written by Crook and drawn by Own Gieni. Combined with the compelling main story, and a fantastic opening, Harrow County definitely worth a return visit next month.

Otherwise, the only mistake this book made is not coming out closer to Halloween. Hopefully the trade will, because Harrow County is a perfect fall horror tale. Bunn has carefully escalated the fear each issue, always giving the reader something scary while teasing something much worse hiding behind the door"and then he makes good on the threat.

Bunn also does a great job playing with our expectations about what path Emmy will take as Hester's history is revealed. I'm not sure I agree with how Emmy and her father interact with each other after everything that's happened between them, but aside from that (and the weird ending), this was another great issue.

We also get a proper answer to last month's head-scratcher of a cliffhanger, which promises to bring us right back into the evil, conflicted territory that made Harrow County such a fantastic series in the first place. This 'happy' interlude definitely wasn't my favorite issue, but Bunn and Crook do a great job making it just as effective as the scary ones while tying the positive vibes to plenty of potential unrest. And now that you-know-who has arrived in town, things are probably about to get even darker than they were before.

And despite my issues with Kammi's character traits being telegraphed, the issue does set up what looks to be a really cool confrontation. Kammi possesses the same unbridled vibrancy of Emmy, but from the completely opposite end of the moral spectrum. While that might be bad news for Emmy's family, friends, and townsfolk, it's great news for those of us who enjoy good horror.

By the way, there's another one page back up story in this one. It's written by Crook and drawn by Cat Farris"and it's pretty messed up, even when you compare to the rest of the stuff we've seen in the series.

I hope Bunn/Crook revisit this plot thread in the future. I would also love to see McNeil fill in again. She and Bunn crafted what could have easily been a mediocre filler issue into a gem of a story.

Now don't get me wrong"it's a cool concept that can (and probably will) pay off in future issues. But Harrow County has spoiled us so far with its consistent quality and scares. The art is just as good as always, but writer Cullen Bunn doesn't give Crook much nightmare fuel to work with"and I say that as someone who is Indian Jones-level scared of snakes. Let's hope next month brings the book back up to its usual level of unsettling enjoyment.

I thought I would miss Emmy's narrative after almost two issues away from her, but I now find myself excited to see what Bernice's story will be. Let's just hope she invests in a pair of gloves before snatching up any more serpents.

Harrow County is still a superb title that every horror fan should be reading–just maybe skip this issue. Let's hope that next month sees the book return to form"or the Bernice storyline, at least.

I'm not sure what to think of the issue's cliffhanger. On one hand, I have absolutely no idea who the new villain is or how he relates to Emmy and Bernice. On the other hand, that last page was creepy as hell"and when Harrow County goes full on creepy, it almost always turns out great.

If you pick up this issue (which you should), then make sure you read to the very end past the letter column. There's another one of those “Tales from Harrow County” one-pagers, which are always good, but this one might be my favorite. You'll need to have some knowledge of the series' history to get it, but for folks who have been with Harrow County since the beginning, it's a real treat.

It will all probably read much better as part of a trade. As a single issue, however, this one just made me want to flashforward to next month"which is really saying something considering that school will have started up again by then.

I also like the way Bunn solidified the importance of Harrow County itself to the mythology of the series. Besides being a perfectly haunting setting, it also continues to develop into a great character within the series itself.Combine that with Crook's aforementioned beautiful artwork, and Harrow County #16 definitely has more good than bad between the pages. Let's hope that the conclusion of this story arc allows it to go back to being great again as Halloween approaches.

As ambivalent as I am about the main story, however, the back up (written by Bunn and drawn by Owen Gieni) is incredible. It provided more terror in one page than the rest of Harrow County #17 managed in twenty-three. Still, I trust Bunn to make the set up we got pay off. The Abandoned wouldn't allow his story to be told, otherwise.

The one-page backup story by Tyler Crook (with art by Aud Koch) is intriguing/beautiful as usual, putting Harrow County #18 back in the title's 2015 form. The book still has a way to go before I consider it one of my favorites again, but this was a great first step.

Strangely, the one-page back up story by Crook (w) and Aud Koch (a) is most definitely the start of an intriguing multi-part tale.

I'm still not sure what to think about the quasi-return of a major character"or if I even like it. It potentially makes the way her story progressed and concluded feel a bit cheapened. But if this issue proved anything, it's that Bunn deserves our trust to make it work. He obviously still has plenty of tricks up his sleeve to make sure life in Harrow County continues to be fresh and horrifying.

If what happened at the end of it holds true, however, then I may not be able to refrain from wailing in fear/excitement. Harrow County's been on a good stretch of issues of late, but this new story arc is set up to potentially be the best one yet.

It's not the big conflict we were expecting, but it's still a riveting/terrifying issue that makes a strong case why Emmy might not always be doing the right thing.

Another beautiful and well written issue, but the narrative is bogged down by a redundant setup.

A glorious showdown between Bernice and Emmy is tempered by a contrived narrative device.

All that being said, the book's look and tone are wonderful"plenty of good things going on to have me very excited to see where things go from here.

After two issues, Hellboy and the B.P.R.D isn't groundbreaking or even all that interesting; it's just a pretty good, beautifully drawn Hellboy tale. That may not be what we were hoping for from such a high caliber creative team, but it's still not bad, either.

Add in plenty of action and great visuals, and this series finally feels like its hitting the immense potential of this excellent creative team"with or without demon monkeys.

Not only is the story by Mignola/Arcudi fun and effective, but Maleev's art is top notch in this action heavy issue. Dave Stewart's colors also deserve praise, giving the book a vibrant look while still maintaining a washed out, classic feel. Barring a complete collapse in next month's final issue, Hellboy and the B.P.R.D. 1942 should be a must read for fans of the Mignolaverse old and new.

House of Penance #1 may have sacrificed too much narrative to establish its mood, but it was still more than good enough to warrant a return visit.

That being said, House of Penance's atmosphere, art, and story potential are still plenty good enough to make it worth sticking around for the next issue. Perhaps this will be one of those series that reads better as a trade"or when additional rooms are added.

I'm still not sure at all where this series is going, but unlike last month, it's not because things felt like they were getting weird for the sake of being weird. There's a fascinating thread being pulled and woven through the rooms of the Winchester House that I desperately want to follow. Hopefully I won't get lost again.

Artwise, things are pretty static, as well. Steve Scott's pencils don't really shine until the last panel, which is by far the best one in the book. His human depictions are all comfortably basic, but his rendering of the alien life form is fantastic. Let's hope it's a sign of better things to come in the next issue.

I like the prospect that the issue's ending sets up. But considering how bland this series has been so far, I don't hold out much hope for next issue's close encounter to be much better.

A very well made comic, but we've officially reached critical mass on the Twisted Riverdale Trope.

By the end of the issue, we are fully invested in Dylan's journey, even if it ends up going down a very dark path. We know our character and we understand his world, but there are still so many questions left that beg for answers"and a second issue, which should absolutely stay on your pull list for next month

Together, these three are putting together a book that is quickly becoming one of my favorite titles. If you don't have Kill or Be Killed on your pull list yet, then you have exactly one month to do so. After that, you're on your own.

As usual, Phillips' gorgeous artwork also helps carry the narrative load. Brubaker's script is strong on its own, but the expressions and body language that Phillips imbues the characters with greatly adds to it. You can tell the years these two have spent creating comics together has them fully in sync with each other.

If you waited for the trade on this one, then you're in for a real treat"although I also give Brubaker a lot of credit for making the single issues read very well. Whatever way you decide to read it, Kill or Be Killed is a mandatory addition to any self-respecting comic reader's pull list.

When you see that a series is being created by Brubaker/Phillips, you don't have to go very out on a limb to predict it will be good. With Kill or Be Killed, however, it might be time to start the discussion about whether or not this is creative team's best work yet.

Speaking of Sharpe (again), she acts as the perfect antidote for anyone who may have started to grow weary of Dylan's sympathetic and occasionally self-pitying narration. I personally still love it, but I also must admit that it's great having someone thrust into the narrative who possesses such a concrete view of what's right and wrong. It adds yet another fascinating layer to what has quickly establishing itself as an early front-runner for my favorite comic series of 2017.

No guns, explosions, or blood, but we still get a beautifully crafted story about arguably the most important person in Dylan's life.

Despite missing a major plot point (which may turn out to be an intentional omission), Kill or Be Killed #8 is still a fantastic issue.

In the grand scheme of things, Kill or Be Killed #9 is a good read. Unfortunately, it also happens to be the weakest issue of the series thus far.

The issue doesn't have much in the way of action, but it still manages to masterfully ramp up the narrative in such a way that the story can't help but boil over next month.

Kill or Be Killed's third story arc starts with one of the series' best issues to date.

Aside from a overabundance of flashbacks (that makes the movie Inception look subdued by comparison), Kill or Be Killed brilliantly edges us closer to Dylan's transformation into a full blown killing machine.

Despite a couple of shoehorned revelations, the story of how Dylan became a killer vigilante continues to get more interesting and exciting each month.

Just when I think this book can't get any better, Kill or Be Killed somehow kicks things up yet another notch.

While most series these days tend to burn through their juice in the beginning, Kill or Be Killed just keeps getting better and more interesting with each issue.

Once again, Kill or Be Killed keeps finding ways to mold its fantastic premise into an even better narrative.

Still better than a lot of comics, but Kill or Be Killed #17 might be the weakest installment of the series.

A tragic and poignant conclusion worthy of one of Image's best series.

There's also a really cool framework being set up for the mythology of King Kong and Skull Island. Combine that with the great art (and the character of Ewata), and Kong of Skull Island is good enough to give a chance for at least one more issue.

On the plus side, the book's art continues to be great, particularly during the thrilling opening sequence. It's enough to make me want to come back for at least one more issue"hopefully with a bit less Days of Our Lives and a lot more Thunderdome.

Hopefully, he'll get a chance to cut loose a bit next month. Otherwise, I may have to release this title from my pull list.

I do like the reason writer James Asmus gives for why a group of people would choose to live in such a dangerous place, but the path we took to get there was a chore to read. While I would like to see what was up with those hyper-intelligent raptors we saw, I'd rather just skip this part of the story and let the movie fill in the blanks, instead.

Johnson's artwork is great throughout, but doesn't quite make up for the problems this one has"particularly the ending, which feels more like an interruption in the story rather than a cliffhanger. The Midnight Society: The Black Lake still shows plenty of potential to be a good series, but the opening chapter does not work well as a single issue.

What is clear, however, is that Johnson is exceptionally talented. But the nuts and bolts of his narrative could definitely use some tightening. Until that happens, Midnight Society: The Black Lake will continue to be a beautiful and aimless tale.

I still think that Johnson spends far too much time on characters that don't impact the story very much. But the stunning artwork and rapidly congealing plot has definitely changed my current opinion of the title. Another issue like this and I'll be on board for whatever new tale Matilda Finn swims to next.

But even with that issue hounding the series' narrative, Midnight Society: The Black Lake hit a much better stride during its second half. While I initially didn't care for the book, I now hope that Drew Edward Johnson revisits title" and perhaps says goodbye to some of the story's extraneous parts.

Still, Lemire has done more than enough to make me desperately curious about where this will all go. Add in the fantastic art team, and Moon Knight's latest relaunch is definitely worth handing over your hard earned cash for"or sacrificing your sanity to Konshu. Whatever you need to do to get this book on your pull list.

It also helps that artist Mike Henderson and colorist Adam Guzowski make everything look gorgeously sinister. Add in one of the most fun letter columns I've ever read (along with an awesome cover), and Nailbiter #13 is a near perfect example of why this book is so damn good. I can't recommend it enough" unless you're eating chicken wings when you get to last page like I was. That pretty much brought dinner to a screeching halt. Fortunately, I may have also started a new favorite series.

The last two pages are not only shocking, but also give the reader a twist/payoff that was genuinely earned. Williamson doesn't just throw in some random crap that you'll think about later and say "How can the smoke monster be the main bad guy and still be controlled by a lever Ben Linus pulls?" It was set up exceptionally well. It was also drawn beautifully by Mike Henderson, as is the entire issue. I don't want to say WHY the last two pages are so well done and spoil anything, so let's just say Henderson draws awful things happening to good people by scary somethings that will break your heart and haunt your dreams. Is one of many reasons why Nailbiter isn't just the best book being put out by Image; it might be the best comic coming out right now, period.

But other than that, Nailbiter #15 is another amazing chapter in what has become my favorite comic book series right now. Like every issue before it, this one's filled with gorgeously rendered action sequences, a dash of visceral gore, great dialogue, a masterfully constructed/executed plot, and top-notch storytelling. Buckaroo, Oregon may be churning out some horrific people, but Josh Williamson and Image Comics are churning out some wonderful books.

But those are minor quibbles in yet another great issue of a comic that continues to be my pull list favorite. If you haven't picked up this series yet, go buy the first three trades, grab a cup of coffee, and enjoy an expertly crafted horror epic during the best time of year to read one. If you are one of the many who've already been bitten by the Nailbiter bug (like me), then you'll be happy to know that best horror comic on the shelves has returned with its usually knack for giving readers delicious story treats and avoiding narrative tricks.

So once again, Nailbiter proves why its one of the best (perhaps the best) comics being published right now. They took a status quo change where many books stumble (a big setting change) and instead ratcheted up the tension"while also keeping plenty of the good elements that got them there.

So yeah, this is probably the closest I've come to giving my current favorite title a bad review and I still enjoyed the issue. Hopefully, my other fellow Nailbiter fans won't be overcome with a strange desire ala Agent Baker to bite my face off and/or deface my body with fake horns.

While I'm not sure I'd recommend Devil Went Down to Georgia for new readers (so far), long time Nailbiter fans should like it just fine.

I haven't been as enamored with this story arc as the first few, but Devil Went Down to Georgia definitely stuck the landing. We may have to wait until May 4 for issue #21 (AAAAARRRGGGHHHH!!!!), but you better believe I'll be counting down the days on my gnarled and chewed fingertips.

Mike Henderson delivers once again. Unfortunately, he and Williamson have also created yet another heart-stopping cliffhanger ending. Thankfully, we only have to wait a month to see what happens next.

On a related note, Williamson reveals in the letter column that despite his new DC exclusive contract, Williamson will still be writing Nailbiter. This is exceptionally good news. I was going to chew my fingers off if my favorite series got canceled.

There's not a whole lot of action for Henderson to draw this issue, but Williamson's great dialogue and carefully rationed revelations more than make up for it. ‘Bound by Blood' is turning out to be a perfect example of why Nailbiter is one of the best comics being published right now.

Every volume of Nailbiter as been strong thus far, but 'Bound by Blood' continues to make a case for being the best one yet.

It's also not a surprise that despite a few missteps, Nailbiter still does enough well to make yet another great issue. The mystery of Buckaroo may still be a ways off from our understanding, but the journey to get there continues to be bloody good entertainment.

That being said, this was still a great issue. It also looks like the start of yet another great story arc for a series that has so far delivered with every volume.

So many genre comic series start off strong only to settle into redundant ruts. Occasionally, you'll find one that starts with a bang and maintains a consistently high level of quality. 27 issues into Nailbiter, the series is somehow getting even better.

Henderson also unleashes some gorgeous cinematic visuals, which makes Nailbiter #28 feel like a true "event" issue despite not being labeled as such. Combine that with an ending that had me screaming at my iPad like an anxious teenager watching a horror movie, and it's a near perfect set up for the eventual conclusion of one of comics' best series.

And as usual, the creative ends things on a cliffhanger that will make the wait for next month's issue feel interminable"only this time, it we'll be waiting to read the very last one.

Were there a few things I wish the creative team had delved into a bit more? Of course. But those lingering questions felt much more tantalizing than frustrating. I know that sounds paradoxical (or just plain stupid), but when a mythology-laden series like this one makes good on answering its biggest question (along with a slew of other great reveals), they've earned the right to keep a little mystery in their back pockets in the case the series ever returns"and let's hope it does, too. As good as the overall narrative was, Nailbiter's strength was in its fantastic characters. The ones who managed to survive the series provided us with one hell of a good story"and they just might one day have a little more to tell.

A triumphant and bloody return for one of the best horror comic series on the shelves.

'Nailbiter Returns' #2 raises the stakes and deepens the mystery, but the story is still in limbo.

'Nailbiter Returns' #3 provides some great action sequences, but also piles more out-of-context layers onto its already indecipherable mystery.

Despite a host of questions that remain about the series overarching mystery, 'Nailbiter Returns #4' is still a heck of a lot of fun.

'Nailbiter Returns' finally rediscovers the mojo that made its predecessor series the best horror comic on the shelves.

Nailbiter Returns #6 falls back into the series' recent cycle of stacking plot threads/questions, but at least it's interesting and we're finally getting somewhere.

A visually stunning and fun issue, but the series is in desperate need of some direction.

'Nailbiter Returns' continues to be entertaining, but its major reveals are less impressive with every issue.

Instead of answering questions, 'Nailbiter Returns' #9 ends up creating more weirdness in place of genuine mystery and intrigue.

What started as a potentially brilliant return for an incredible series ends with a large degree of disappointment.

I've read many comics co-written by celebrity writers that were terrible. Thankfully, No Angel looks to buck that trend with a solid premise and well-executed opening chapter (which makes me crush on Adrianne Palicki even harder). If Csuka's colors can mesh with Syahrazad's pencils, then this book could end up being something really special.

Past Tense's great premise and complex characters weave a story that keeps you on the edge of your seat until the last fantastic panel.

Postal has taken a fascinating premise and refused to let the story rest on its laurels. The characters and their individual narratives continue to evolve in very interesting ways. The only downside to this book right now is the long month we have to wait between each delivery.

Hill/Hawkins make up for this minor shortcoming, however, providing us with an ending that will have you worried about Mark for completely different reasons than before. It marks yet another strong finish for a book that continues to establish itself as so much more than just its intriguing premise. Five issues in, I think its safe bet that not snow nor rain nor heat nor gloom of night should keep this title from being added to your pull list.

There's also a cool puzzle at the end of the book along with a contest for readers to solve it. I won't be entering since I'm the type of guy who solves a Rubik's Cube by peeling off the stickers and reapplying them so all the colors match. I will, however, be picking up Postal for the foreseeable future. Seven issues in and we haven't had a weak one yet.

If you're not picking up this series, you're really missing out. This isn't just some flash in the pan indie darling that's inevitably going to lose steam. Postal has maintained the momentum from an excellent start and continues to get even better.

Another month, another issue of top-notch storytelling and compelling characters. If there's one thing you can count on, it's that Postal will always deliver (and that I'll use a mail pun to praise it).

The issue does suffer a bit from the dangling plot threads, but I have complete faith in Hill to pull them tighter as Eden's newest resident stirs things. It looks like 2015's Best New Series is off to a great start in 2016.

Just like it did after launching in 2015, Postal continues to use its great premise as a reservoir for developing even better stories. Month in and month out, this book is becoming a lock to get my stamp of approval.

Just go buy Postal. You won't be disappointed (but Molly will sure as heck make sure you feel unsettled).

If you're looking for a great comic, Postal is the complete package.

Buckle up, folks. Postal is back and better than ever.

If you're looking for a lot of action, last issue is your jam. Postal #14 instead provides us with some space and much needed internal turmoil over the conflict to come.

If you are already reading Postal, then I'm sure you'll agree that 2015's best new comic series is finishing 2016 even stronger.

"except for those of us who have this title on our pull list. Postal continues to prove month after month why it belongs at the very top of the reading pile.

Once again, Postal kicks off a new story arc that already looks like it could top the fantastic previous chapter. If this book's not on your pull list by now, then you're crazier than Molly"and that is most definitely not a compliment.

But despite my reservations about it, Bremble's decision does have me excited for where it will lead. Both he and Mark's chosen paths should offer a glimpse into both men's psyches that we haven't seen yet. Considering how deep Bryan Hill already dives into what makes Postal‘s characters tick, going further into those depths with Mark and Agent Bremble should make for even more unsettling (and highly enjoyable) stories.

Despite a lack of physical action, Mark's actions as mayor of Eden provide one of Postal's most thrilling issues to date.

If you weren't on #TeamMaggie before, then Postal #20 will make sure of it one way or another.

Postal #21 effectively sets up what should be an explosive culmination of many of the series' overarching plot threads.

In an issue that is supposed to serve as set up for the series' biggest battle, there's still plenty of action (and a very good story) to be found.

Despite suffering a bit from being a setup issue, Postal #23 still delivers some great character moments leading up to its biggest conflict yet.

Eden's own festering wounds emerge something far worse than any exterior threat the town has ever face.

An immensely satisfying conclusion to a fantastic series.

It might not feel like the other issues of Postal, but it sure makes a great endcap to the series.

That being said, it's still a solid opening chapter. Considering how good Ryan's dialogue is (and Campbell's aforementioned beautiful art), I'll definitely be sticking around to see what comes next.

It still bothers me that much of the story hinges on Jackal making an incredibly dumb decision (even for him), but it's forgivable mistake considering how good the rest of the issue is.

Once again, Jamal Campbell's art is superb. Considering how much this issue features Electro kicking Hobie's ass, we get plenty of opportunities for Campbell to show off his gorgeous lighting effects within the framework of his deftly rendered fight sequences. Unfortunately, the story leaves something to be desired. While I really like the identifying voice Sean Ryan gives to Hobie, his message becomes redundant by the issue's paradoxical (and far too convenient) end.

It's enough to save this issue, but the narrative needs to start going somewhere if The Prowler is going to transform from a fun diversion into a solid ongoing series.

All that being said, I think this creative team has proven itself enough to keep this title on the pull list. It will be interesting to see what they do with this character after his pseudo reset, but it's likely to be something worth reading"and guaranteed to always look beautiful.

Overall, both the good and bad news is that we have no idea where this story is going. That makes the narrative feel unsteady, but it's also a sign that what we're reading won't follow the path that everyone (myself included) was expecting.

I did think that the way the Fauxlympians got their powers was a bit contrived, but whatever"the rest of the issue makes up for it.

Aside from a couple gorgeous panels, this issue is one MASSIVE info dump. It stands out from the other chapters, but not in a good way at all.

A solid first issue that sets the foundation for a great horror tale in the months to come.

Aside from the opening and a truly perplexing last page, not much happens to move the story forward. The scary stuff is good, but it would be nice to understand a bit more about what's happening to Daisy after two issues. That being said, Red Mother is still good enough to stay on the pull list for now.

Wake up, sheeple. Ashlar is going to save you from a death you didn't even know was coming"or at least lead you on a bloody good quest for answers you may not want to know.

Combine all of that with some great new story seeds, and Romulus #2 should assuage any second issue letdown concerns. Unlike the conspiracy theories that your uncle posts about on Facebook, this series is the real deal.

But aside from those minor quibbles, Romulus' third chapter is more than enough to solidify the title for top-of-the-read-pile status. While I'm not quite ready to call it as good as Hill's brilliant Postal series, that seeds for that level of excellent storytelling have definitely been sown inside their tinfoil planters.

While the long delay between issues killed some of the momentum, Romulus #4 still manages to kick the series' narrative into overdrive.

While the last issue may have arguably benefited from the "HOLY CRAP NEW FIREFLY UNIVERSE STUFF!" factor, this one provided plenty of reassurance that we're in for a fantastic new story, as well. On equal footing with the excellent plot are the characters themselves. Zack Whedon's dialogue for Captain Mal Reynolds is so spot on that I can actually hear it being said in Nathan Fillion's voice (which despite being a heterosexual male, causes me to feel strangely giddy).

Add all that in with a gloriously escalating story plus Georges Jeanty's gorgeous artwork, and you've got one of the best and most enjoyable chapters in the Firefly universe across any medium. If you are any kind of Firefly fan at all, you absolutely need to be reading this series.

This issue did had a few minor issues (like Zoe's part feeling a bit tacked on), but otherwise, it was another fantastic read. If you miss 'Firefly' as much as I do, then this series isn't just a good fix. It's exactly what we've been waiting for (besides the series continuing on Netflix, obviously).

And by the way, curse you Zack Whedon for pulling on my heart strings like that with the Wash flashback in 'Out of Gas.' I mean that in a good way, but still"curse you.

It was also a bit of a letdown that Mal's speech from the prior issue about finally taking a stand didn't really pan out. Maybe they're saving that for another miniseries"and considering how great this one was, that would be just fine with me.

Do I wish the story driving things forward was a little better formed so far? Sure. But just like the television show, No Power in the 'Verse looks like it gets the most important part of any Firefly story: The characters.

As fun as it is seeing River Tam kick ass, the rest of the issue drags quite a bit. We're hit with a large amount of exposition, including a big speech/dressing down of Simon by Captain Reynolds"which is usually a good thing. But while Chris Roberson nails Mal's cadence and delivery, I honestly don't see him taking the cold position that he did.

Maybe they have, though. Perhaps Serenity: No Power in the 'Verse #3 is setting us up for some epic misdirection like the original television series episode ‘Trash' pulled off. As it stands now, however, the book seems to be moving its great characters from one boring/predictable situation to another.

The only two things I did enjoy in this one were Jayne's hilariously dogged attempts to be a nice guy and the art. I may not like (or understand) why the issue's big fight scene was happening, but Georges Jeanty draws/choreographs the hell out of it. Hopefully, the quality of the narrative follows suit. It wouldn't be the first time Captain Tightpants pretending to be inept and/or oblivious before pulling off a masterful stunt"but I won't be holding my breath, either.

All that being said, Mal's dialogue is spot on. The art is great as usual, particularly on the issue's big action sequence. Now we just need a strong finish and some big reveals to salvage this series. Nothing would make me happier than for Mal & Co. (and the creative team) to pull this thing in spectacular fashion–I'll gladly eat a heaping helping of crow if they do.

Despite some great dialogue and beautiful art, the story is painfully boring and predictable.

All that being said, Thompson's dialogue between Moon and Franklin is more than enough to make the issue worth reading. We also get a nice moment with Moon's supporting cast, who I was worried would be forgotten about in this arc after it moved from New York to San Francisco. We also get a great cliff-hanger that should provide quite a bit of conflict for Silk along with the various factions inside New U itself.

Combine that with Thompson's good (but exposition-heavy) dialogue, and you've still got yourself a decent issue of Silk to read"but I have a feeling it will fit in much better as a chapter in the collected edition of this story.

Otherwise, this is a fairly enjoyable issue, though not as good as what we're used to getting from the title. Irene Strychalski's art is a bit stilted at times, but always looks great"especially in the final few pages. And Thompson always gives Cindy Moon a great voice. As good as Clone Conspiracy has been, I think Silk is the type of book that operates better on its own rather than tied into a major event"and without any stupid ghost tricks.

It's also little disappointing that we don't dive back into the family secret issue from before, but an issue like this was probably needed to create some space from the major Clone Conspiracy event that just finished ripping through all the Spider titles. This one will probably read much better in the trade (especially for a meathead like me who wants to see more of Silk/Cindy kicking ass), but it's still a good read on its own, as well.

A highly flawed yet satisfying series finale.

Without or without the revelation, however, calling Spider-Gwen #14 "uneven" would be a gross understatement. The shifts in narrative tone and (especially) the art end up sinking what began as an exceptionally promising issue.

Speaking of stylish, though, it's great having Robbi Rodriguez back for the whole issue, especially with the bonkers fight scene near the end. I still wish we knew a little more about what Gwen's potential "training" will ultimately lead to, but watching Rodriguez draw her throwing down against a ninja assassin a hell of a lot of fun to watch no matter what the context is.

I'm normally not a big fan of crossovers, but so far, "Sitting in a Tree" has been a real treat. Now let's see if that kiss happens next issue so I can officially start using #TeamGwiles on everything.

With the promise of a big revelation to come"and four great issues so far"Sitting in a Tree is shaping to be a classic Spider-Man crossover"or at the very least a great story. Either way, it most definitely belongs on every Spider-fan's pull list.

A huge part of the Spider Mythos is introduced in what turns out to be a chilling and fantastic story.

Even if you hate stories about Wolverine or alternate dimensions (or alternate dimension Wolverines), Spider-Gwen #20 is guaranteed to entertain you.

Despite still not getting to see the Earth-65 symbiote in action, Latour and Rodriguez utilize its presence to craft another masterful issue.

Not at all what you probably want/expect from an issue of Spider-Gwen, but still entertaining.

Spider-Gwen #24 works as both a brilliant conclusion and springboard into an exciting new chapter for the title.

A visually stunning issue is hampered by a weak and convenient resolution to a major conflict.

And speaking of the script, it's not bad at all. You can almost always count on Bendis knocking it out of the park when it comes to dialogue. This issue is no exception. In fact, Spider-Man #9 will probably make a great middle chapter its collected volume. As a single issue, however, it's a bit of a letdown.

On the plus side, Nico Leon makes everything look beautiful. Just like last issue, his paneling perfectly facilitates the large amount of conversation and emotional beats. Most television shows aren't this good at making their characters interact. I just wish he and Bendis' story was also occurring in its originally intended form. If this was actually the way things were supposed to go, however, then it still feels very off and unsatisfying.

Other than that, however, Spider-Man #11 is a great read. I'm normally not a fan of comics that don't feature their main character, but this was a much needed and wonderfully executed exploration of arguably the series' most interesting supporting cast member.

Yes, I know I just said that about the first issue of a crossover. But trust me when I say that if you're any type of Spiderfan, then Spider-Man #12 needs to be in your hands this week.

As expected, there's plenty of humor and romantic tension, as well. Still no kiss, but we know it's coming. Considering how great these two are together already, it should make the moment even better once it arrives. I'm not in any hurry to get there, though"especially when every step of the journey is this enjoyable.

A fun romp through multiple dimensions is soured a bit by an ending that threatens to undo the previously wonderful narrative.

Not a whole lot of action, but still a great issue that fleshes out (and also twists up) some major parts of Miles' personal life.

A great look at how a good-hearted kid with incredible power might let off some steam"and how that can easily come back to bite him.

Great action, a great plot, and some (normally) lame characters getting their moments to shine have Spider-Man firing on all cylinders.

Great action, fantastic dialogue, and gorgeous artwork make Spider-Man #18 a perfect example of why it's one of Marvel's best current offerings.

The best supporting cast at Marvel gets a lot of good interaction this go around, but not much story.

An entertaining yet mostly forgettable issue that still manages to set up a potentially great story arc.

I'm normally not a fan of holiday issues, but Spider-Man/Deadpool #12 managed to make my shriveled heart grow three-sizes today"or maybe that's just some indigestion. Either way, it's a great issue that deserves a place on your pull list or under your Christmas tree.

I'm still not a big fan of The Fist or their bizarre/inefficient methods of villainy, but David's dependably great dialogue and Sliney's wonderful artwork continue to make Spider-Man 2099 a consistently enjoyable book.

I trust David/Sliney to make it work, though. Even on an issue like this one"which isn't quite up to par with the rest of the series" Spider-Man 2099 can always be counted on to be an excellent read.

I also like the conflict that David is setting up, particularly with regard to Miguel facing off against his time-displaced family tree. When you add in Tempest's involvement (and the very big news we learn about her this issue), Spider-Man 2099 still ends up being an enjoyable book"just not as much as it usually is.

That being said, the last page of the issue does provide a tantalizing look at what could turn out to be one of the best storylines of the series to date.

A frustrating and nonsensical bit of character development is molded into what turns out to be a fantastic conclusion.

The ending is great, but the path the book takes to get us there is painfully bland.

The overarching narrative"combined with Will Sliney drawing the hell out of some incredible visuals"make this issue a must read.

A decent read, but not different, in depth, or even fun enough to make it stand out from all the other Spider-Man origin retellings we've seen over the years.

Let's hope the second issue of this series has some more new and/or interesting things to offer. Otherwise, it could make my rating for this one look generous.

A little better than the last issue, but that's not saying much at all.

It all adds up to an issue that is definitely worth grabbing if you've been on the fence about putting Spider-Woman on your pull list. If you don't like this one then the book probably isn't for you since you clearly hate things that are wonderful and awesome. But for Jessica Drew fans, it's a welcome return to a great series.

As someone who's become completely jaded about how superhero comics deal with death, it's both shocking and surprising to find such a brutally genuine portrayal of it here. When you add in Spider-Woman #14's kick-ass action and incredibly compelling narrative, you'd be hard pressed to find a single-issue story better than this one.

So yeah, I'm still a little ticked at the creative team for pulling the rug out from under us. But they're still telling a great story, so I'm still on board.

Spider-Woman #17 is a near perfect encapsulation of all the things that made this series great.

It's a shame all of that happened, because from a creative standpoint, Squarriors is a top notch book. Let's hope that the second issue continues the same trend minus the mistakes and headaches.

Maczko is turning what could have been a run of the mill anthropomorphic narrative into a reading experience filled with drama, mystery, and visceral thrills. And Witter's art"holy smokes! I'm not sure what else I can say to express just great it is"except that should close your browser right now and go pick this boo. It's worth every penny (even for us Kickstarter backers who had to pay a little extra).

Aside from that, Squarriors #3 is another incredibly good chapter in what is easily one of 2015's best series. Maczko and Witter have both proven themselves to be creators worth following onto their next projects"and to a final issue for this series that should be all types of awesome.

So will I be trade waiting for the next season of Squarriors? Heck no! I'll be picking up single issues, story flow be damned. This isn't just a good series. It's something truly special. Hats off to Team Ash for making the trials and tribulations of creatures running through my backyard into something gorgeous, compelling, and fun. I hate myself for making this pun, but you'd be nuts not to have Squarriors on your pull list.

If this first issue is a sign of things to come, then Squarriors: Summer is going to be even better than the original series. And even if it's not, I'm still willing bet the skin and muscle tissue on the left side of my face that it'll be great.

All that being said, I love that we're finally starting to get some more definitive clues and links between the past and present storylines. Maczko also does a great job drawing a narrative parallel between the two. And as far as the action sequences go, they're filled with all the wonderful woodland creature violence and mayhem that we've come to expect. When you combine that with Witter's brilliant art, it makes the wait for Squarriors: Summer #2 completely worth it"but still incredibly disruptive to what's otherwise shaping up to be a superb tale.

While artist Carlos D'anda is brilliant as usual, this feels like the first issue where Brian Wood has stumbled. No matter how much of your belief you are willing to suspend, some of the characters' actions and subsequent revelations don't make sense with what has been previously established in the series.

After what could be considered a major misstep last issue, Brian Wood brings the book roaring back to form with an expertly crafted opening chapter to this two part tale. Most of us probably didn't need a reminder that Darth Vader was a badass, but this story does that as well as any you'll find in the movies or expanded universe.

Fortunately, the fantastic artwork by Facundo Percio and some more great perspective from the character of Ensign Nanda still make this one a fun read.

The story, on the other hand, is a bit of a let down. Let's hope that this was all just an overly dense setup for what will end up being another great story arc for the series.

Hopefully, the promise of an impending space battle and some Luke Skywalker badassery will make the next issue a bit more enjoyable (and one step closer to being done with this whole plot line once and for all).

The issue has a few redeeming qualities, like Stephane Crety's wonderful art (sans the cartoonish evil grins on all the villains faces) and some good action sequences. The plot, unfortunately, is so contrived and ridiculous it makes the entire thing very unenjoyable to read.

This issue also had a ton of action, all gorgeously rendered by Stephane Crety. It all made for a shockingly great conclusion to a story arc that I gave no chance of having any redeeming qualities. I stand corrected, however, and will gladly eat my crow slathered in barbeque sauce.

The internal thoughts and struggles that Seren expresses about her time deep undercover act as an effective hook into the story. The issue didn't feel like it moved things forward very much from where it started, but it does set the foundation for a good finish to Dark Horse's excellent run with this franchise.

To be honest, this wasn't the type of issue I had initially hoped for. I wanted a big send off for this great series as the franchise closed out its legendary run at Dark Horse. Instead, we just got a good, solid story with an uplifting conclusion.

The ending is also surprisingly poignant. I hadn't considered that the reason for C-3PO's red arm would be something so touching and sentimental. Add in some good actions sequences, and you've got yourself a comic that even person who doesn't like droid-centered stories (like me) can enjoy.

Eh" kind of. As much as I love this time period in Star Wars lore, I imagine that it's hard to consistently write stories which shake things up when future cannon has already been so well established. But Stradley proved with issues #2 and #3 of the series that surprises and great story telling can still occur.

And even if this series does end up feeling inconsequential to the new Star Wars cannon, the opening pages of Darth Maul #1 prove that we'll at least get some exciting fight scenes to enjoy.

With the introduction of some new/awesome characters"and a healthy sprinkling of fan service"Darth Maul's second issue has molded the series' somewhat lackluster premise into a deliciously intriguing conflict.

While not as thrilling as the last issue, Darth Maul #3 does manage to weave one heck of a great set up for the next chapter.

At the end of the day, it all adds up to make it worth checking out issue #2"but seriously, if Maul and Grievous ever meet again, let's hope their battle is as good as it should be.

It's good to see that Dark Horse is taking this final book of theirs in an interesting direction. Last issue felt like a lead up right back to the television series' status quo, but this one gives us an interesting hook to make the lasers and explosions actually feel worthwhile.

Much of the credit for that goes to artist Juan Frigeri, who brilliantly brings each page to life. Let's hope that writer Jeremy Barlow can find more smart and inventive ways to give us those type of scenes as the series comes to a close.

Well done again, Dark Horse.

By the end of this one, I was fully invested in CT-5539 as a character. I also have no idea where the story is going to go, but I don't mean that as a criticism at all. Instead, Siedell has given us a fascinating character embarking on a journey with limitless possibilities and outcomes.

Want to learn more about Siedell's vision of the Star Wars universe and Darth Vader and the Cry of Shadows? Check out our very own interview with Tim Siedell.

Combined with another batch of Guzman's incredible interiors and a great cliffhanger, Cry of Shadows #3 shows no signs this series of letting up. If you love Darth Vader stories—or just great Star Wars stories in general—you should be reading this book.

Fortunately, the issue is salvaged by Tim Siedell's knack for internal dialogue and Gabriel Guzman's breathtaking pencils. A very unconventional (and surprising) ending also points to a great show down coming up in the final issue, which will hopefully pull everything back to the incredible quality of the series' previous installments.

After a slight hiccup last month, Siedell and Guzman righted the ship to cement this as one of the greatest Darth Vader stories ever told. This is Vader in the process of building his fearsome reputation" and we get to come along for the wonderfully written, beautifully drawn ride.

Now if you'll excuse me, I'm going to go lift up the lifeguard's sunglasses at our neighborhood's swimming pool.

But considering how good the first issue was, this one still feels like a bit of a let down. Let's hope all the foundation work the creative team did allows them to really cut loose in the latter half of the story.

Thankfully, the fascinating hell these characters are being put through by Big Winner/Newman continue to make the series"and this story arc"worth reading, even if it's just for Gabriel Rodriguez's art.

About the only part of the story that doesn't make sense is one that should have added a great deal to it. Remember what I said about the Bebop and Rocksteady stand alone issue establishing a perfect tone for the duo in this universe? That's exactly what the villain microseries was meant do: Give you added layers and insights into the characters. But not everyone reads those books (even though they are making a huge mistake by passing them up). If you are one of those very sad and misguided people, then Alopex's actions at one point in the issue may cause you to have a brain aneurysm. There is one very small hint about what the fox will do from the previous issue, but her actions and their motivations feel like completely come out of nowhere"unless you've read the character's excellent microseries issue. Then it makes perfect sense.

This issue doesn't have a whole lot of action, but it does set up some potentially great new plot threads while smartly dealing with the ones from before. Unfortunately, the low quality of artwork is impossible to overlook.

Fortunately, Campbell's beautiful pencils keep the middle slog from bringing down the rest of a very good issue.

Now as we head back to New York City, Leo's return to being the leader of the team doesn't feel forced or contrived. Instead, we got some great character development (along with plenty of action) to help prime us for the war to reclaim the city.

I really wish I could say more about this issue, but you just need to go out and get it. If you don't like cool action sequences and superb drama, then at least give it a shot for another take on April's rockin' new hairdo.

Combine that with the issue's chilling conclusion, and you have yet another great chapter in what is turning out to be a legendary run for the franchise. I know that many of us are scared about what Michael Bay might do to our beloved heroes in a half shell, but at least we can all take solace in the fact that the Teenage Mutant Ninja Turtles comic book universe is consistently being guided by capable and talented hands.

Add in some wonderful "inside jokes" for hardcore shellheads, and you have yet another gem of an issue in what is turning out to be a legendary run for the franchise.

On art duties, Manteus Santolouco is teamed up with Mark Torres, who draws the Rat King's flash back scenes. Both artists ended up creating some of the very best work we've had in all 36 issues of the series. Combined with Waltz's usual knack for combining action with great storytelling, it's more than enough to forgive all the dangling plot threads"for now.

But aside from those minor issues, Teenage Mutant Ninja Turtles #37 is a smart and thrilling entry into Waltz's impressive run on the title. Don't waste your money seeing the cinematic abomination of this franchise that's in movie theaters right now. Instead, go buy this comic and read it a few times. It's infinitely more worthy of your time and money.

What's even harder, however, is finding anything bad to say about this series (corny April/Casey scene aside). The brilliant team of rotating artists, the ever expanding mythology, and Waltz's consistently great scripts make it a book that any TMNT fan" or just a fan of good comics" should be reading.

If you are a fan of the franchise, there's no reason for you to be skipping this book. It might very well be the best run of TMNT comics ever produced.

The scary thing is, it just keeps getting better. Now if we could just get a decent movie made, Ninja Turtle media would truly be firing on all cylinders.

This book just keeps getting better with time and shows no signs of slowing down. Balls to walls action, well-themed and constructed plots that are still accessible, complex characters on both sides of good and evil, and a rotating team of top flight artists. This isn't just TMNT comics done right; it's comics done right, period.

It's also worth noting that for a 'bad issue' of the series, it's still pretty decent in general. But when you're used to the comic equivalent of having a five star meal every month, it's a little disappointing to eat fast food.

But aside from those nitpicks, this was a welcome return to form for one of IDW's best titles. Not only were there a lot of great plot threads all going on at once, but they all ended on tremendous cliffhangers"and Baxter Stockman got punched in the face by Krang, which was pretty awesome.

And despite my (rare) criticism of Waltz, I do appreciate that it appears he isn't going to make what happens to one of the main characters an easy fix. That last page is a punch to the gut" and just enough to push this one a little higher up the rating scale. This isn't a very strong issue compared to the rest of the series, but it's still Waltz's TMNT"which means overall, it's still pretty good.

But this issue isn't just some weird, David Lynchian exploration of the space between life and death. Waltz digs deep into the fall out the previous battle, which I found to be infinitely more engaging.

Once again, the TMNT creative has taken an issue that could have been a by-the-numbers setup piece and turned it into a great bit of storytelling. It's yet another reason this title is becoming my favorite incarnation of the Heroes in a Half Shell.

All in all, this was by far one of the weaker issues of TMNT that I've read"which is still better than most stuff on the shelves, but not up to part with how great the book can be. Let's hope this is just a small hiccup in the title's otherwise stellar run.

The rest of the story, however, is a little disappointing. Compared to the high stakes conflicts we've had before, the most exciting thing about this story arc so far has been the connecting covers. Add in the scenes of status quo Shredder and Baxter Stockman being predictably obtuse, and the whole thing feels a bit stale. The saving grace for this issue is Cory Smith and his fantastically frantic fight scenes. Otherwise, I might just skip this one and wait for the next volume.

But the ending is what makes this milestone issue feel truly special. I hope Waltz doesn't go back and change anything, because it's great. In addition to being a worthy 'big issue shocker', it's completely organic. This was what had to happen. Maybe the kid friendly cartoons/comics would have found a contrived way around it, but not here. IDW's main series has proven once again why it's the best piece of TMNT media going right now.

Last issue was going to be almost impossible to top, but this one still felt exceptionally 'meh.' I get that Waltz needed to set things up for the series' new direction"and to his credit, he doesn't immediately revert back to the safety of how things were before. The dynamic of the series truly has changed and Waltz is charging forward. But all that exposition and set up didn't really do much to make this individual issue a fun read. Even the opening 'fight scene' consisted mostly of an Italian stereotype getting his ass kicked while a bunch of General Grievous' manga guards disappeared into thin air.

But art issues aside, the script was so weak (easily the weakest of the entire series) that it didn't even feel like Waltz wrote it. Hopefully these last two installments were just a small blip and not the start of a trend. Otherwise, one of my favorite books is in some serious trouble.

Compared to last issue, however, this plot issue seems almost inconsequential. It's nice to be back to the tight dialogue and fluid action sequences that been a hallmark of the series. It's still not up to par with what we're used to, but things finally seem to be getting back on track.

Despite my misgivings about the plot's origins, we've come a long way since the dreadful book from a couple months ago"but we're also still a ways off from how great the book has been for the last two years. Let's see if Waltz and company can move past the recent missteps next month with some help from the new character we saw on the last page.

And then you have Mikey's 'revelation,' which is really just a poor excuse to get him back into place that was stupid for him to abandon anyway. The issue's only redeeming qualities (besides the art) are Alopex's fight scene and the Leatherhead preview at the end. Hopefully the next one will put this normally stellar series back on track.

I'm not sure what happened to Waltz's writing over the last few months"maybe it was just me who thought it was severely below par for him. Whatever the case, this issue read like the many others that made him one of my favorite current writers. Add in my favorite current TMNT artist, one of my all-time favorite TMNT characters, and a great murder mystery, and I'm back to being excited/horribly impatient for the next issue to hit the stands.

The reveal near the end of the issue was cool as well, although the potential twist at the end felt a little forced. Still, I trust Tom Waltz to spin this into an interesting new story thread. And even if it plays out in the most obvious manner, he's still given us a great setup going forward. In addition to Leatherhead's intriguing (and potentially terrifying) presence, a fascinating intersection of trust, safety, and ethics is playing out between turtles and their extraterrestrial counterparts. Add in the prospect of even more Santolouco-drawn alligator action, and next month's issue can't get here fast enough.

Thankfully, the issue wraps things up with a cliffhanger that leads into a very chaotic-looking new story arc. It also concludes what is easily the series' best run of issues this year. Hopefully, this means that Teenage Mutant Ninja Turtles is back to its usual stellar form.

Let's hope that next issue can sweep aside all the plot holes and give us good old fashion mutant-ninja melee.

Dave Wachter's art is the issue's saving grace, preventing it from turning into a complete dumpster fire. Still, I'm not sure I've ever read a less enjoyable and poorly plotted installment of IDW's otherwise stellar series than this one. Let's hope that writer Tom Waltz returns to his regular/exceptional form in August.

The issue's great cliffhanger also provides some hope for the future, but this title is putting out a lot more mediocre/poor issues than good ones recently. Maybe these new invisibility cloak villains will provide the spark the series needs to get back on track"it's just too bad they can't make the last two issues disappear, as well.

And despite my misgivings about Splinter's shift toward being a coldly efficient sociopath, I do like where it appears to be leading the narrative. I'm not ready to declare Teenage Mutant Ninja Turtles back on track yet, but the title appears to finally be rolling off its shell.

But whether it does or not it looks like we're in for one hell of a fight next month"and for the first time in a long time, I can't wait to read the next issue of this series.

It might be too early to say this, but it certainly feels like IDW Teenage Mutant Ninja Turtles has fully returned to form. It's also nice having absolutely no idea what's going to happen next.

In all honesty, I might not be the best person to rate/review this particular issue. Holiday specials - especially ones that insert themselves into otherwise separate storylines - almost always make me feel like a Grinch. But in spite of my personal bias, Teenage Mutant Ninja Turtles #65 was still able to make my small heart grow two sizes (but not quite three).

Combine that with Campbell's masterful artwork (along with Alopex's return), and Teenage Mutant Ninja Turtles #66 is a great read"although you may want to brush up on some Alopex back issues first before you dive in.

All that being said, however, Teenage Mutant Ninja Turtles #67 looks like the start of a very promising story arc. It's worth picking up just for the final fight scene alone"just like the next one will be worth picking up to see who survived it.

Mind-blowing action wrapped inside a compelling story with more human drama than most books that feature actual human characters have.

Between the crazy good art by Mateus Santolouco and the incredible script by Tom Waltz, Teenage Mutant Ninja Turtles #69 is easily the best issue of the series so far this year.

Despite an ending that's a little too easy (and cheesy), TMNT #70 is still a fun ending to what's been on of the series' best story arcs.

Despite a promising set up, the issue quickly devolves into circular arguments among vaguely-motivated characters.

Definitely better than the last month, but a compressed series of encounters keep things from really taking off.

Despite requiring a massive amount of exposition, Teenage Mutant Ninja Turtles #73 establishes a strong starting point for a potentially fantastic story.

After a thrilling opening few pages, Teenage Mutant Ninja Turtles #74 falls into a boring and predictable lull.

A beautiful looking book, but with a flimsy narrative and poor resolution. You'll want to escape from Planet X, too.

Intriguing subplots and cool visuals help salvage an otherwise boring/predictable issue.

Amazing character moments and incredibly well-drawn action sequences make this the best issue in an already fantastic story arc.

The ending to this issue is great, mostly because it promises what should be one heck of a good battle next month. Otherwise, however, TMNT #79 isn't all that good.

A supremely disappointing conclusion to what began a potentially fantastic story arc.

Add in the $8 price tag (!) and this one might only be worth picking up if you're a longtime fan of the franchise.

Let's hope that we can dig into a good story now that the (poorly executed) excuse for these two franchises to be working together has been established.

Let's hope that we can dig into a good story now that the (poorly executed) excuse for these two franchises to be working together has been established.

All in all, the worst this series will end up being is a very fun and enjoyable diversion for both franchise's fans. When it comes to crossovers (which are typically terrible), that's a commendable success.

Meanwhile, artist Dan Schoening and colorist Luis Antonio Delgado continue with the same stellar work they've throughout the series. Add in an ending that's funny, sentimental, and even a little creepy, and this franchise crossover can put on a bow on nice little gift to Ghostbuster and TMNT fans alike.

Great characters and fantastic art end up taking a back seat to massive amount of exposition to set up the story.

While this book may not be very good for someone new to the Ninja Turtles, it is a great way for old timers like myself to look back on TMNT's storied history.

Even with all that, this issue is still a lot of fun. Waltz hits all the right notes for an alternate reality story (major deaths, organically shifted character arcs, etc.) along with providing an ending that packs a genuine punch to the heart. I just wish the road we took to get there hadn't also landed those strong jabs to my brain.

Kuhn is also at the top of his game, particularly in how he renders the Old Hob flashback and the issue's multiple action sequences. Despite this opening chapter's 'unevenness', it's definitely not due to the quality of the creative team. With plenty of action and great characters to explore, this one should definitely be on every TMNT fan's pull list.