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).

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

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

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.

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

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

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.

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.

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 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.

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.

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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.

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.

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.

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 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.

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.

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

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.

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.

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.

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.

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

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.

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.

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

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

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

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

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.

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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.

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.

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).

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.

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.

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.

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.

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.

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.

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

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

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

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

Great art and writing still result in a flat story.

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

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

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

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.

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.

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.

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.

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.

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.

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.

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.

Dinosaurs and a great script make Venom #151 by far the strongest issue since the series relaunched.

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

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

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

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

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

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

A highly flawed yet satisfying series finale.

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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

THIS is what you want from this series--a fantastically written/drawn deep dive into the TMNT's universe's most interesting supporting characters.

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

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

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

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

A thrilling and fun story wrapped in beautiful artwork and some of the best dialogue we've ever had between everyone's favorite mutant (kind of) couple.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A 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.

I knocked the last issue pretty hard, but this one had me on the edge of my seat like the best episodes of the television series used to. Harris also manages to fully utilize the fact that he is working without the budget constraints of a network production to give us some pretty great visuals, all of which are once again drawn beautifully l by Elena Casagrande.

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.

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.

At the end of the day, the X-Files Fanatic in me overrode the more critical side and really enjoyed this issue, ESPECIALLY after reading it a second time. This one might have you scrambling to Netflix or the internet to look up some classic episodes of the television series, but that's not necessarily a bad thing. Add in some pretty fantastic art work3 (see what I did there?), and we have a nice little stand alone gem for the series.

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.

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

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.

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.

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.

Colin Lorimer's wonderful and atmospheric pencils definitely deserve a large share of the credit, but in the end, Harris is back to doing what he does best: Telling good stories that send a chill down your spine (without bringing back multiple dead characters from the television show).

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

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.

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.

There's still plenty that can go wrong with a mythology story like this, but Harris/Smith knocked the opening chapter out of the park. If they keep this up, I just might become a believer again, myself.

"and Fox, don't you dare ignore any of this stuff when the series returns later this year; it's way too cool to be de-canoned.

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.

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.

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.

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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 (!).

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.

"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.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

If I have one quibble, it's that the whole 'will this be supernatural or not' speculation at the beginning of the story is a little eye-roll worthy. We all know it will be, so it was a little tedious having so much dialogue dedicated to subject. But other than that, some great interaction between Pezzini and Rooney (and a new character), a fantastic action sequence, and a good story combine with a good hook into the series' deeper mythology combine together to give us another excellent issue.

But if you are generally current with the Top Cow universe, buckle up for a terrifyingly good ride.

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.

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.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Well done again, Dark Horse.

I'm still a bit wary of how this series crossing over with all these other big franchises will work. There's a good chance that it could be a lot of fun, but there's just as good of a chance that it will read like a clunky and pointless cash grab. For now, however, this issue works as an excellent start to the crossover.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To put it simply, this issue is X-Files at its best. The dialogue between Mulder and Scully is pitch perfect and hilarious (and it gets points for including the mother of all 'Sopranos' references).

Even if you didn't know anything about X-Files (or you didn't like the show back when it aired), this would likely still be a fun series to read. But if you are a long time X-Phile, then X-Files: Year Zero is shaping up to be a wonderful ride.

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.

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.

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

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

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

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

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

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

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

The art work by Tyler Crook is a perfect match, giving the story a classic feel while still rendering the actions sequences fluidly. The story by Kim Newman and Maura McHugh could have probably used a bit more foreshadowing before the big reveal near the end, but it's still off to a fantastic start.

Other than that, this is another strong chapter in a highly enjoyable miniseries.

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.

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.

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 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.

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.

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

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

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

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

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

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

A stylishly executed, but ultimately predictable story.

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

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

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

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

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

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

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

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

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

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