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.

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.

Joe Harris normally does great work, so hopefully this was a case of the story being a bit too avant-garde and not a sign of things to come for the series.

The last page of the issue is intriguing, but not enough for me to continue with this series. Whatever The Shadow knows will have to be discovered without me (unless the second issue steps it up considerably).

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

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

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.

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.

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

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.

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.

There's some cool background info on the culture behind the narrative, but it's not backed up with much action. That's a real shame, too, because Matthew Dow Smith's art looks really good. Thankfully, the expressions and body language he provides to the characters give the story a small bit of forward momentum. Otherwise, this one is a bit of a snoozer. Still plenty of potential to be good, but if this was the show, they would need to start wooing me back from the computer soon.

What could have (and maybe should have) been a fascinating trip into Skinner's past turned in a standard, trope-laden tale about soldiers' sins past.

A "twist" anyone could see coming along with surprisingly weak character work make this one of the series' weakest issues.

For a series that's supposed to be fun, Bebop and Rocksteady Destroy Everything has become a chore to read. Maybe things will finally right themselves with issue #3. Otherwise, I might need to build my own time machine and travel back a few weeks to remove this one from my pull list.

As far as the writing goes, Mike Costa generally does great work. Perhaps it's just the new host that's rubbing me the wrong way"or maybe the symbiote's new status quo just isn't my thing. Either way, this series has only an issue or two left to get better before I find the nearest bell tower and rip it off of my pull list.

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.

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

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.

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

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.

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.

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.

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

Aside from a couple great action sequences, Teenage Mutant Ninja Turtles Universe #11 leaves a lot to be desired.

Maybe Joe Harris will start to tie all this together in the next issue. He's certainly proven himself capable of complex story telling before. Unfortunately, the current arc of IDW's X-Files series makes me wish it would finish and move onto the next one as soon as possible.

A great creative team sadly ends their X-Files run on a derivative mythology arc.

Yet another issue of TMNT: Dimension X featuring a talented creative team, great art, and a dud of a story.

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.

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.

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.

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).

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.

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.

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.

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

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.

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.

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.

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

To the series' credit, I do like that it seems to be branching off from simply being another TMNT title into an exploration of the many different aspects within the rich universe that Tom Waltz, Bobby Curnow, and Kevin Eastman have created. I just wish that for this particular issue, we'd gotten more than a repeated and monotonous display of what was already expected.

Let's hope that next month, writer Joe Harris fills in the beautiful blanks with something a bit more concrete and easier to grasp.

A potentially brilliant story is tripped up by a constantly shifting timeline and a nonsensical McGuffin.

Not even Harris' brilliant topical humor and Matthew Dow Smith can save this series from the grips of a predictable, stale narrative.

If the Deviations one-shots are going to continue as an annual publication, then why not go out on a limb and try something unexpected? As it stands now, the title is barely worth a place on your pull list"or the pull list of you from any alternate dimensions.

It should also be noted that even the worst X-Files issue from Joe Harris (of which this definitely qualifies for consideration) is still not completely terrible. But he's proven on plenty other occasions to be capable of so much more.

Complexity is fine, but its sequential progression must still translate into a story. Right now, this issue"and this entire story arc"feel like a big mess.

Unfortunately, the story continues to become more of a chore to get through with every new issue. I'm fine with complex time travel stories, but not at the expense of a clear narrative. Bebeop and Rocksteady Destroy Everything has a lot going for it, but its positive attributes are getting crushed like roadkill beneath a DeLorean's tire.

A fairly bland and predictable read that never rises above the level of being pleasant"and is mostly just dull.

Even if you aren't a stickler for continuity, Venom #156 will leave you scratching your head (and not particularly entertained).

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.

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

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

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

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.

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

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.

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.

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).

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

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.

This is a great creative team that I would love to see do another Deviation issue. This one, however, made me wish for an alternate timeline where the book gets rewritten with a story that lives up to its compelling premise and potential.

Fortunately, the issue is saved by some excellent artwork, although the multiple artists that contributed to it make things feel a bit uneven. And aside from the mind numbing time travel discussion, Ben Bates (story) and Dustin Weaver (script) have written something that could potentially be a lot of fun. There are some genuinely funny character moments for both the Turtles and Bebop/Rocksteady"along with a delightfully intriguing hook for the next issue. Combine that with some great art and this one barely makes the cut to stay on next month's pull list. Let's just hope a certain character gets moved a bit further into the background by then.

I'm afraid it's time for me to tap out on this series. While this would normally indicate that I'm not a fan of the creative team, I'd actually love to see what they end up doing next. There's a ton of talent here, but Weavers has proven not to be the best vehicle for it.

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

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

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.

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.

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.

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.

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.

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 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.

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.

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.

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!

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

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

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.

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.

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.

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.

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

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.

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.

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.

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.

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

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

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

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

An exciting narrative gets derailed by ridiculous character moments and exposition.

The good news: This looks like the set up to a potentially great story arc. The bad news: It takes a MASSIVE amount of exposition to get us there.

On the positive side, the interrogation scene between CSM and Krychek is fantastic stuff. For the second issue in a row, Matthew Smith's style of artwork is utilized properly, giving us some gorgeously drawn scenes that ALMOST make up for the tangled and tired plot.

But I'm definitely glad this little dose of X-Files Lite has run its course through our systems. Let's hope that 'Elders' keeps us all a bit more lucid.

I do like where things seem to be going, especially with the evolution of Gibson Praise and his relationship to Mulder and Scully. It's just tad disappointing to be off to such a slow start.

I may be of the few people who doesn't consider Home a top ten X-Files episode, but I still think it's fertile ground for a chilling story"and I still trust Harris to pull it off. He's proven me wrong plenty of times before when I questioned his middle-chapter narratives. And when you've got Matthew Dow Smith drawing the inbred family so well, it pretty much can't be bad. But as of right now, the narrative direction feels more uneven than the Peacock's genetic code.

Matthew Dow Smith is good as usual, although he continues his bizarre trend of tighter/better pencils for flashback scenes when most artists do the exact opposite. And the muddy narrative is saved a bit by the ending, which hopefully it leads to Joe Harris closing out the series with what he does best: Turning the X-Files franchise on its head via fun action and pitch perfect dialogue.

A great new villain is nearly overshadowed by poor characterization and a planet with the power to create plot contrivances.

Gorgeous artwork and a fantastic last page salvage what is otherwise a disappointing issue.

What looks like it could be the start of a great story next month is proceeded by a decidedly mediocre set up.

For now, though, Weavers remains a stylish collection of tangled threads.

Maybe this story was supposed to take place over a number of issues and got compressed for the series' ending in October (frowny face). Either way, it just doesn't feel like something the Sheriff Pezzini we all know and love would do.

The art is gorgeous, but Mr. Wormwood has a lot of work ahead of him if he wants to win your vote.

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.

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.

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.

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.

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.

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.

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, 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.

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.

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.

I want to like this story more than I do. The good aspects are fantastic. But I just can't get over the hollow ending and shifting quality of art. Call me disappointed.

I'll be sticking with this series for now, but I really hope Costa shows his previous knack for characterization soon. Venom has definitely got the style part down, but is severely lacking in substance.

That being said, this creative is definitely worth giving at least another issue. Supernatural Organized Crime lit has plenty of crappy entries, but Weavers is at worst average"and with the potential to be fantastic.

If you're absolutely jonesing for an X-Files fix, go ahead and pick this one up. Otherwise, you can skip it and start the countdown to very exciting looking story that begins in issue #11.

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.

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.

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.

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.

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.

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.

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).

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.

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.

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

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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

Let's hope that next time Allor gets a turn writing Teenage Mutant Ninja Turtles Universe (which will hopefully be soon), he accelerates rather than slides to the end.

But even with those complaints, along with a few other plot contrivances (like the aforementioned "death delay"), there's a really good horror story lurking somewhere inside this issue. It just doesn't quite come together like I'd hoped. Still, if you'd told me I would be able to tolerate reading a Wyrm story before now, I wouldn't have believed you. This one was not only tolerable, but fairly enjoyable, too.

The book may feel too silly/slaptick even for an all-ages book, but it's still a fun read.

All that being said, I definitely feel like there's enough here to continue reading the series. The gorgeous artwork definitely carries the weight of the book, but Lorimer's strong dialogue proves and narrative framework also point to a series that might just need a little time to find its footing. I'll definitely be giving the next issue a shot"maybe with a physical copy instead so I can fully appreciate any two-page spreads we might see.

The positive qualities of this book are so good that they're also frustrating. The potentially fantastic story keeps tripping over itself only to get back up and pull you back in again. Hopefully next month's issue will show the same momentum and narrative focus that the last third of this one did.

But let's talk about those possessed eyes for a minute. No seriously, can we talk about it? Because I have absolutely no idea what's going on with them. Or the narrative.

That being said, this isn't a bad issue at all. While I'll always prefer a story that surprises me, Harris can always make the familiar X-Files plot riffs sound good.

Speaking of that, I appreciate Harris' sympathetic viewpoint of the Muslim family that is featured in this issue, especially with how hostile the political/cultural climate in our country has become. But as gripping as the opening scene is, I think he'll also lament its timing coming out this week. Hopefully, it doesn't overshadow the larger message"the ugliness, frustration, and pain caused when we make unfair assumptions about large groups of people due the terrible acts of a few psychotic outliers.

If this creative team makes full use of their story's potential, it could be one of the best X-Files ever"at least for an 80's kid like me who loves a good conspiracy. Let's just hope it doesn't get derailed by the aforementioned mystical white powder.

"but for $8? Holiday dollars are hard enough to stretch without overpriced comic books hammering your budget. That industrial strength body hair groomer I still need to buy for David Brooke isn't going to pay for itself. Unless you're an X-Files completist"or just really desperate for a very fun and forgettable story"then you can say BAH HUMBUG about adding this one to your pull list.

There's nothing earth shattering or even that exciting here, but The X-Files: Origins #1 does make for a pretty good exploration into Mulder and Scully's young minds/motivations. It's also good enough to keep the title on your pull list for at least one more issue.

A cookie cutter episode of the X-Files can still make for a damn tasty cookie, especially with this creative team. While the plot's familiarity may seem a little stale, Harris continues to do an excellent job giving Mulder and Scully the exact same voice and banter that we would expect not only from the characters we knew before, but as they would be at this point in their relationship. Excluding the scene from the first issue when Scully started crying like Claire Danes in 'Homeland', he's been about as spot on with the dialogue and character actions/reactions as you could possibly hope for.

Overall it's a good issue, but stuff needs to start making sense soon before everything starts going off the rails.

It's not a bad issue, but it definitely feels like a step down from the string of really good ones we've just had. Let's hope that next month, the good aspects of the narrative come to the fore rather than disappear in a puff of smoke.

There was still plenty to like about the issue, though. We got some action, a nice return/callback to the Syndicate scheming in a darkened room (albeit with very different intentions now), and of course getting to see CSM find yet another way to die. In fact, the contents of X-Files #24 work pretty well as part of a story (sans the Scully sleeping in the car part), but not so great as an individual issue.

The issue also does a good job explaining/tempering Praise's sliding power levels, which were starting to get a tad ridiculous. I really hope this arc continues digging into his past, especially if it links up a little more with the story happening now.

In the end, this issue works as a pretty good microcosm for much of what I've both enjoyed and disliked about Harris' X-Files run. The overarching plot may not be my cup of tea, but the moments between characters (especially the ones we haven't gotten to see in over a decade) make the trip there enjoyable.

Maybe it'll all be brought back together next issue. This series isn't a failure by any stretch, but it would be great to see it shine again like it did in the first coupe issues.

Unfortunately, the random and 'out of nowhere' elements that infiltrated the series' final couple of issues took the luster off the it, a bit.

Until the last few pages, this one was all over the place. The story, humor, and artwork all had moments that were both brilliantly executed and painfully flat. The ending, however, is one that will stick with you long after the book has been put down. If you've been reading the whole series up to this point, the payoff at the end makes slugging through the issue's weaker aspects totally worth it.

This isn't a bad issue overall. In fact, it was mildly enjoyable. But unless you're a really big fan of The Crow, you won't be missing much of the overall story by not picking it up.

In the end, it's a fun/disposable issue, but not up to the standard of great storytelling that this franchise crossover has managed to ping once before.

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.

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.

A stylishly executed, but ultimately predictable story.

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.

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 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.

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

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.

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 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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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

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.

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.

Oh yeah, I almost forgot about Renet, who is still a terrible character. Maybe she'll end up doing something cool by the end, but so far she's just been an inexplicable annoyance. If she ends up teleporting into a volcano, I might give the next issue an 11/10 just for that.

Also, the last few pages of the issue are much better than the rest of it. In addition to a series of beautiful drawn action sequences, the narrative finally releases itself from the shackles of disguising a mystery in plain sight, delivering a knockout punch of an ending. Let's hope the next issue picks up with the momentum this one ended with.

Still, that ending was pretty darn good. I really hope one of the two Turtles books picks up the plot thread"and if it's this one, I hope it's the same creative team so they can have another shot at knocking it out of the park.

Add in some genuinely funny retro humor, and you've got yourself a solid X-Files issue. It certainly wasn't spectacular, but it was also a heck of a lot better than anything we've read since the series' most recent relaunch. Maybe digging back into the past is just what this book needed to start heading in the right direction again.

Despite a narrative that spins its wheels too much, a wealth of historical easter eggs and some great dialogue makes The X-Files: JFK Disclosure worth pulling from the archives.

Fortunately, this issue also gives us a bit more information along with some excellent scenes between different sets of characters. Hopefully it is a sign of good things to come.

Helping Harris on that end is artist Matthew Dow Smith, who goes to town with"arrgggh! I can't talk about it yet. Until then, I'll just say that I like what Harris is setting up to give us a trip down nostalgia lane through a surprisingly organic plot thread. This issue isn't the best one in the series by any measure, but the arc as a whole has the potential to be really good. And for what it's worth, I might be one of the few X-Files fans out there who did not like the episode that this one references"like at all. Maybe I'm just kind of squeamish about"that subject. But with this story, I'm actually looking forward to where it might go (as long as I can read the next issue on an empty stomach).

The issue ends with another cliffhanger, albeit one that isn't quite as immediate as the one from last month. It also looks like the fallout won't be so easily avoided"which is really good, because Gibson Praise is starting to get on my nerves. He was cool at first, but his shifting power levels are making it harder and harder to trust the narrative. Harris isa good enough writer to still spin a good story around such a nebulous character, but the series' over arcing plot would be much better served by a slightly clearer picture of its main antagonist.

But despite this chapter falling short of the others, Witchfinder: The Mysteries of Unland remains a strong series. Let's hope that things getting shaken up a bit in next month's penultimate issue.

Still too many lame jokes and too much exposition, but once the narrative and humor really gets going, it's definitely worth your voting consideration.

It just feels like this was a really good 22 page story that got stretched out quite a bit. $8 is a lot to spend on a comic, even if it includes a cool Season 11 preview. This isn't an issue that you absolutely must own if you're an X-Files fan, but it's also one that you are very likely to enjoy…even if it does break your weekly book budget a bit.

As far as the art is concerned, the pencils by Salvador Navarro at times rendered the characters a little wooden. His backgrounds and depictions of the story's supernatural elements, however, were absolutely superb. And even his more "wooden" portraits of the Lone Gunmen were still incredibly well done from a detail and likeness standpoint.Overall this is a fun issue, but suffers from plot limitations that a crossover like this can entail. I was already worried that the overall story would devolve from an engaging mystery into a synergy-inspired cash grab. Despite this creative team's admirable and sometimes very enjoyable efforts, that's exactly what the issue felt like.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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

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.

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

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'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.

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

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

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.

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.

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.

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.

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.

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.

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).

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

But compared to the previous issues of this series, this one definitely falls short of the very high bar that's been set. Fortunately, it's still plenty good enough not to detract from it. The cliffhanger at the end is outstanding. It sets up a major conflict involving a character that this creative has done more with than I'd ever thought possible. Let's hope that it also helps brings Mutanimals back to its superb first and second issue form.

Would I recommend this book? Maybe. If you want a pretty good Teenage Mutant Ninja Turtles story, then go for it. If you're looking for something different than what we already get from IDW each month, this might end up being a redundant addition to your monthly pull list.

This may be the weakest issue of the 'Karai's Path' story arc, but it's still pretty darn good.

If you're X-Files completist and/or don't mind over-paying for a good story with some genuinely hilarious moments and a fun action sequence, then pick this one up. Otherwise, you can save your $8 for the next two issues of the main series, which seems to have finally regained its footing.

The pencils by Matthew Smith and Matthew Southworth are both exceptional, which helps push this one onto the plus side of the critical scale" although perhaps not enough to justify the $8.00 price tag (!).

I still don't think that Walsh's pencils for this series are a good fit, but his art is good. The dialogue between Mulder and Scully is great and feels just like it should (as it has for most of the series). The story, on the other hand, is a very mixed bag. But despite some very serious flaws in the beginning, it looks like we might have a mythology arc that could end up being a lot of fun.

Overall, however, this is still a pretty solid issue. The interaction between Mulder and Scully hits all the right notes and the story has quite a bit of potential to be a good one. Let's just hope that no one else comes back from the dead to try and help move it along.

The story is beginning to head a little bit off the rails, but the appearance of a long forgotten (and great) television character along with Harris' well executed scenes of supernatural horror more than earn a thumbs up on picking up this book along with the next chapter in November"which will hopefully explain just what the hell is going on a bit more.

Now that we know this team will get a new X-Files book with basically a fresh start, let's see what type of crazy finish they can whip up for the current series.

Let's just hope that from here on out, the creators avoid easy spy genre plot props like the one that ended this issue"and that Ms. Templeton always accompanies her prisoners to the potty.

I still can't stand Venom's bland and trope-laden main character, but at least Costa is surrounding him with a supporting cast that's starting to make things interesting. Combine that with Sandoval's excellent artwork, and Venom might still have a chance to permanently bond itself to my pull list.

I'm still hoping that Lee meets a grisly and undignified end"just not with the symbiote. I'm not sure what it says about the series that a savage, id-controlled parasite is more interesting than the main human character, but I'll keep reading (and enjoying) the book if it continues its current upward swing.

But that being said, the art is generally very good and the story is well written. It also has enough potential upside that even if you aren't a fan of the show, Vikings is still worth checking out.

I still don't get what the Hollywood guy's part in all this is. If Van Lente is planting seeds, then they sure don't feel like something that will grow into the main narrative. But once you get past that (and Fayez's situational obliviousness), Weird Detective #3 finishes things up as a solid entry in what's turning out to be a fantastic series.

All that being said, however, I really do wish that the fight between Sara and Jackie (rather than just its results) had been more epic. Though to be honest, I'm not sure the final confrontation between them could ever have lived up to anyone's expectations. In the end, readers who were anticipating a thrilling climactic battle (myself included) are instead treated to a decent scrap followed by a great setup for the dark days ahead.

I also liked where Sejic's story was going. It managed to keep a lot of what's good about the Witchblade mythos while providing a new and distinctive voice observing it. It's almost enough to keep me from feeling bitter about the Sara Pezzini series ending at such an inopportune time.

All that being said, this is still a pretty decent read. The new information that we do receive is well framed with the present action, keeping the narrative from feeling like one big exposition dump. The artwork by Tyler Crook is, as usual, gorgeous and terrifying.I must admit, however, that what started out as a great series (from my perspective, at least) has me a bit worried heading towards the last chapter. My guess is that it will be great, but it could just as easily go off the rails, as well.I guess we'll find out in a month.

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.

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.

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.

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

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

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

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.

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.

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.

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).

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.

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.

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.

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.

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.

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.

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

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.

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.

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 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.

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

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.

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 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.

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.

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.

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.

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.

Like I said before, I'm still not sure how this title is an exploration of the TMNT mythos beyond what the regular book attempts, but at least it's telling a good story so far.

To be honest, this type of story isn't really my thing. That being said, writers Sophie Campbell and Bobby Curnow do a great job establishing just how bizarre and twisted the Toad Baron's realm is without resorting to David Lynch-esque randomness. There's still a clear narrative here and it's pretty good.

What Sophie Campbell's story may lack in appeal to people who don't like whimsical tales like this, it more than made up for it with some great dialogue and character exploration of Alopex and Angel.

Despite some gaps in the narrative, TMNT #17 somehow utilizes dinosaur soldiers to relay a gripping, heartfelt story.

The Clone Conspiracy doesn't quite match the greatness of Spider-Verse, but it's still one of the best event series we've had in the last decade"and an absolute must-read if you're any type of Spider-Man fan.

But even if the villain never completely comes together, I'm still all types of excited to see what Harris comes up with next. I've always loved the way he writes Scully"this story is a great example why he's so good at it. Combine that with the great fill in artwork, and this new era of IDW's The X-Files might finally be finding its groove.

I will say, however, that all setup we got did make me excited for Season 11. Matthew Dow Smith also does a great job with the art, particularly on a touching and beautiful splash page of Mulder and Scully. I know we're all pumped about X-Files returning to television this fall, but we should be equally excited about IDW continuing to publish such an enjoyable title.

Sounds like a pretty good issue, right? And it is"for the most part. Sean Phillips once again treats us to a gorgeous fight/escape scene (brilliantly colored by Elizabeth Breitweiser) that reinforces what a supreme badass Velvet is. It's also good to see her so focused and pissed off again. On the other hand, we get yet another revelation of betrayal. I know it's a common trope for this genre, but c'mon. This one felt so telegraphed that it hurt.

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

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.

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

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

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.

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

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

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

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.

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.

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.

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

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.

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.

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.

Well done again, Dark Horse.

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

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.

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.

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.

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.

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.

Campbell's art really starts settling into its usual level of quality right when the issue ends, but it's still very good overall. Combined with Allor's writing, it makes for a solid opening to a miniseries that might not have the depth and impact of Utrom Empire, but should still be incredibly entertaining.

But other than that one (glaring) issue, Teenage Mutant Ninja Turtles Universe #3 is great. Not only is the story good, but the stakes get raised in a very major and believable way. More importantly, it looks like we can safely mark this title down as a quality addition to the TMNT mythos.

Despite an unhealthy dose of expositional dialogue, this issue still finishes the series' strongest arc with a bloody (and wonderful) bang.

Together, the two tales make for a very solid opening, which we definitely need for any spider-related event that has the world "clone" in it. I still wish we got a little more info (relative to what we knew going in), but as long as we're getting Slott's great character work and Cheung's gorgeous fight scenes, I'm willing to wait.

While the issue does fantastic/incomparable job setting the tone and mood for the series, it leaves a lot of the story's plot up in the air. Tynion obviously couldn't give away everything, but I wish he'd given us a little more than this. That being said, The Eighth Seal still has me hooked and ready for the next issue. Hopefully I can get a full night's rest sometime before it hits the stands.

Where Tynion truly succeeds in this issue is with Greene's dream sequence. It's incredibly disjointed, but in a purposeful way that's both wonderfully surreal and supremely tragic. That type of great character work, along with Rock's fantastic art, is more than enough to keep me coming back for more"even if the plot looks like it might be heading in a somewhat generic direction.

But all that being said, this is still a very good issue. In fact, I dare say it might be a better introduction than the first Unbeatable Squirrel Girl #1. The table has been set up to pick up right where we left off, this time with a great new character along for the ride.

So after a string of mediocre issues, Harris/Smith gift us with extra-long, extra-enjoyable issue. If that doesn't get you into the holiday spirit, then I don't know what will.

Now let's just hope the story stays good and no other dead characters come back from grave.

I've often felt that he and Harris dropped the ball on many of the series mythology issues, but not this time. The creative team is definitely firing on all cylinders as we head to the Season 10 finale. The truth is out there, and that truth is that X-Files: Season 10 kicks ass.

And despite my reservations about the issue's narrative muddiness, the great dialogue and exceptional art still makes it a highly enjoyable read. Let's just hope that next month's installment moves things forward a bit.

The first story is great. The other two are not nearly as good. If you're a 90's-era Venom fan, however, the whole issue is definitely worth picking up.

If you like fun, no holds barred adventure with just the right dash of horror and gore, you'll love Venom #152.

There's also a great piece of pinup artwork in the back by Rafer Roberts that alone is worth buying the book for…but you should be getting it anyway because the story and art are great.

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.

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

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.

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.

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.