Lauren Keely and Jonathan Luna's true strength with this book is how it's put together in a way that is both futuristic and clean as well as heavy and emotionally devastating at the same time. It's a well done issue.

With a threat like Leviathian supposedly being a huge issue, it all just sort of falls flat. For an issue with such incredible visual appeal, there's just nothing else there.

For readers who have been keeping up with Bendis' run on Action Comics, they're probably used to that by now, but it can be a little jarring at times for those hopping in, curious as to what all this Leviathan business is about.

Szymon Kudranski's attention to detail and brilliant use of space on the page gives the story a tangible, real-life feel. The words on the page have meaning, certainly, but the expressions Kudranski creates on the faces of the characters go so much further, to the point that in some panels you don't even need the words to understand what is going on. It's breathtaking.

It's a perfect pairing and it makes for another, standout issue.

Action Comics #1014 continues to offer a bit more insight on the ground-level threat with a sense of urgency that makes the whole mystery all the more exciting. It's a must-read this week.

If the previous issues of Action have had an urgency, #1015 feels like a slow stroll"at least until the confusing and chaotic last panels that bring the story sharply back into focus.

Overall, it's a pretty average issue with cool art, a fun fight scene, and serves as a bit of a breather from some of the other madness in the DC Universe right now.

Ultimately, Action Comics #1017 falls into a space in which the story is is good but it just doesn't execute the way perhaps one might want a comic book to, creating a bit of a disconnect between the story and the images that support it. It's a "good" book. It's just nothing special.

There's a nice little bit of humanity to the bulk of the issue, but the end result is an issue that is just functionally okay"not even really good, just kind of there.

At this point, the fight feels like it's been drawn out too long and it's that concern that drags the issue out. There's just too much going on and in too many points in time. Too much tell and not enough show.

This arc is one that is well past its prime. It's time to end it already. We already know Superman isn't winning the day. Let's move on.

It's a lackluster issue on almost every page.

The current run of Action Comics is honestly a mess and understandably so. There are a lot of moving parts, a lot of things unexplained and it's not always the easiest to read and this is especially true in Action Comics #1022.

You know that a story has gotten overly convoluted when you have to rely on a fairly extensive, full-page (and then some) recap in order to make sense of the issue in hand and that's where we are in Action Comics #1023.

With the gravity of the story being weirdly undercut by needless awkwardness, the book ends up being promising but a little to try hard. Story wise, it's good. Execution wise, it leaves a lot to be desired.

It's another miss.

Everything here feels both overwrought and under developed to the point that readers might actually find themselves hoping Superman loses just to put him"and this run"out of its misery.

Action Comics #1027 is a weird mess of an issue.

Bendis' run held promise; this finale shows just how much that promise was wasted.

What the issue lacks in plot it makes up for in heart, and that works just fine.

Adventures of the Super Sons #6 is an absolute treat. Peter Tomasi takes all the elements of what makes for a classic, entertaining comic book adventure, injects some spot-on humor, and even throws in a dash of intrigue and an engaging cliffhanger to boot.

Adventures of the Super Sons is quite possibly one of the most enjoyable books DC Comics has put out in a long time, and that holds true even with an issue that sees the Super Sons separated and in peril.

While the story is pretty predictable -- Luthor is up to something far worse than initially hinted -- there's something pure and refreshing about the straightforward story that reminds readers of just how fun comics can be.

The issue is a superb, fun romp approached with the heart and determination that has been a defining feature of this whole run. A fantastic read with bright, truly enjoyable art; you won't want to put this issue down.

Full of action, this issue surprises with a few moments that make it look like the Sons might be betrayed by their robot friend Hex and it even looks like they may not make it out alive. That actually makes the story more interesting, which is why the reveal at the end that help has arrived in the form of the grown ups a little disappointing.

The best part is that the issue is very much in line with the overall sense of adventure the entire series has had, which makes it a solid, truly enjoyable issue from one of the best series DC has going right now.

A story within a story within a story, a clever Eminem reference, and a whole lot of action. That's what Adventures of the Super Sons brings in its final issue and while it doesn't all come together seamlessly, the overall effect is a bright, fun, thrill ride of an issue very much in keeping with whole maxi-series.

The issue is not one you want to jump into if you haven't been reading along for at least a few issue prior, but it's certainly an excellent kick off to what terrifying plans Kindred has with the Sin-Eater.

America is such a unique and interesting character, readers will no doubt wish she had a more unique and interesting conclusion to this grand adventure.

It's a well-told story that manages to hit all the right notes and establish an adventure without sacrificing the current story for the larger arc.

Coming off of a truly charming and engaging first issue Amethyst #2 continues that momentum with an issue that captures, both in words and art, the frantic feeling of helplessness Amy experiences upon discovering her entire world gone and no allies to help her.

There's a lot of development in this issue and a lot of stunning art and while the story elements are a bit messy, a bit ragged, and quite frankly A LOT to process, the book is a fun one to read, leaving you with a lot of questions as the fight makes its way to the big bad's territory at last.

Amy Reeder's Amethyst has been a delightful series thus far and Amethyst #4 continues that streak.

Amy Reeder's done some outstanding work, both story and art, on Amethyst as a whole and this issue certainly drives that home as well with a book that may not be the most polished in terms of the way it wraps up its story, but is visually gorgeous in every possible way.

It's a fun issue with a lot of lead up that will hopefully pay off soon.

Overall, it's a solid issue. It doesn't particularly stand out, but it also isn't a bad read.

Archie #30 puts the whole story in position for what feels like the ultimate action point of the whole arc but with so much steady storytelling it's hard to get excited for what's to come.

One of the major strengths of Mark Waid's work with Archie is the pacing and that holds true with Archie #31. The issue kicks off with just the right amount of urgency and maintains the energy through to the last panel. Unfortunately, this issue falls into the same trap that most of the previous issues have before it, and that is that it sets up little cliffhangers that simply aren't necessary.

Archie #32 marks the final issue of Mark Waid's run and the end of the modern relaunch of the series before it shifts into legacy numbering with a new creative team and as closing issues go, this one is practically perfect.

You can truly feel the heaviness of the looming war and even though we already know where the world ends up in the end, how the beloved Archie characters fare is as much a mystery for us as it is for them and this first issue is an excellent first chapter.

It's nearly impossible to miss the heavy Star Wars feeling Ascender #1 has and while hero journeys are universal, Ascender is too reliant on stereotypes and tropes, resulting in a too cliche debut.

A marked improvement over the debut issue, Ascender #2 moves away from the table setting of the first issue to some real conflict and action.

With just the right amount of action and plenty of heart, Ascender #3 finally finds its footing, striking an emotional chord that will keep the reader connected, despite the relatively slow burn of the actual plot.

Ascender #4 really advances the story this week and as the different elements of the plot start to come back into play, it makes for a genuinely engaging and intriguing read.

Ascender #5 does that in a heartbreaking way this week, one that will leave you gasping aloud in the final pages. It simpy doesn't get better than this.

Ascender is one of those stories that may have taken a bit to get going but it's one of the best books out today now that it has.

While narratively there are threads that still need to come together, Ascender #7 feels almost like a one shot, but it's an elegant and beautiful one that sets a new tone for the story ahead. It's exquisite.

Ascender continues to be one of the best comics out there and this week it accomplishes that with a frenetic, powerful combination of deeply emotional storytelling that bring's Mila's parents back together in the worst possible way along with incredible art that draws the sinister tones out of the story written on the page.

I don't know how each issue keeps getting better, but this one is one of the best.

As this chapter of Ascender's story ends, it offers no answers and just the barest shard of hope, but the story is filled with both light and feeling in a way unlike anything else. It's good.

From cover to cover, Ascender #11 simply outstanding. A great read.

As always, I could praise Dustin Nguyen's art all day and it still wouldn't be enough"and it's excellent here once again. Truly a solid issue and a joy to read.

There is a lot here, but what makes the book perhaps a big stronger than some of the other transitional issues of the run, is we get to really dig into Mila, her personality, her thoughts, her situation.

One of the best things about Ascender is that while this deep into the story odd twists and turns are to be expected, they frequently delivery in a way that is very unexpected.

Overall, it's a good read, but not great, though there's lots of potential in the mystery presented.

The Autumnal started off with an elegant and fairly strong first issue, but issue #2 has already started to slip into obtuse mystery and difficult cliche.

All in all, a perfect chapter in the Batman story.

Batman #45 is an issue that you will either love or hate. Tom King's story here is solid. Well-written and well-paced, it is slow to dawn on the reader the major twist the story takes at the end.

The weird alternative universe/timeline story started in Batman #45 continues this issue and doesn't get any less weird, but it simply works better.

Overall, a very well-done issue that readers won't forget any time soon.

The issue is not an easy read. It's subtly graphic with some intense moments, but it is an incredible issue that will leave readers wanting more even as they flinch and try to look away.

It isn't often that readers get to see the, dare I say, human side of the villains in Batman's world, but Batman #49 does just that and it makes for one of the more thought-provoking and powerful issues of this run.

Overall, Batman #50 may not live up to the overwhelming hype that led up to it, but it doesn't need to. It's an issue that redefines and fundamentally changes Batman -- and Catwoman -- forever in a way that has been far too long in coming.

Given all the hype around the wedding between Batman and Catwoman -- and the way that affair turned out -- one might expect that Batman #51 would take the easy way out by delivering a broken, violent, emotionally shut-down Batman. And it does, but to Tom King's credit the story takes a very different turn.

Tom King's writing is giving Bruce an introspection one wouldn't have expected after Selina left him at the altar and it might be one of the finest chapters in the Caped Crusader's story yet.

Batman #53 is a great reminder that there's a bigger story to be told in King's run than just the love story between Batman and Catwoman.

A little light on action, but strong in emotional weight, readers might not claim Batman #54 as a favorite, but it's definitely a turning point and it will be interesting to see where things go for both Dick and Bruce going forward.

If you've been reading Tom King's Batman, then you've likely figured out that it's the issues that are the quietest in terms of action and major events that end up packing the biggest punch, and that holds true for Batman #55.

Admittedly, it's a slightly cliche story, but King tells it well, moving back and forth from the story of a son dealing with a father who was less than stellar and a pseudo-father dealing with grief and rage over what's happened to his pseudo-son. He even manages to slip in another somewhat unusual villain.

The issue is visually beautiful -- a largely wordless fight between Batman and the man who shot Nightwing -- but it lacks substance.

One thing Tom King has excelled at during his Batman run is humanizing the villains in a way that doesn't make them sympathetic but instead gives better insight into who they are. Unfortunately, despite a genuinely intriguing setup with The Penguin, the issue continues with a further dehumanizing of Batman.

Batman is at his darkest, most unrestrained worst this time around, to the point it's getting nearly impossible to want to root for him in any capacity. To an extent that's the point, but the deeper we get into King's run the more and more this bleak fall from grace into utter darkness becomes a chore to read, and that's especially evident here.

We're no closer to answers to this mystery, but there's a twist at the end that makes this darkness worth sitting in a little bit longer.

King's told this story nearly thirty issues before and, by bringing it back here only serves to stall any forward motion the book should have had -- something that feels awfully dangerous in the first chapter of a new arc.

Batman #62 is, in a word, weird. But that isn't necessarily a bad thing.

To say that Tom King has been taking Batman to unusual places is a little bit of an understatement, and those unusual places haven't always worked. This week, however, Batman #63 takes us deeper into the "Knightmares" arc and in doing so follows along with Batman into what feels less like a Knightmare and more like a dream come true.

The balance between the anger stage of grief in Flash and Batman's guilt and desperation makes for a deeply meaningful story, and it's one you won't want to miss.

Despite the solid action and beginnings of a resolution, there is just this vague sense of being left wanting. However, if for nothing else than it's sharp honesty and vulnerability in showing Batman for who he is, the book is a fine and worthy read.

It seems like a waste of narrative space, and it's likely to leave fans wondering when -- or if -- the story is ever going to start moving forward again.

Generally speaking, these Knightmares stories have largely worn out their welcome. While Tom King is trying to tell a larger story arc (he has to get to issue 100, after all), these stories feel more like filler, a way to technically complete an issue without having to expend too much story.

Tom King's extended run on Batman has its highs and lows, and while more recent installments of the "Knightmares" arc have been more on the low side of things, this week's Batman #68 is decidedly a high point -- and possibly one of the most enjoyable issues King's done yet.

We are finally at the end of the "Knightmares" arc, but while Batman #69 does serve to shift the narrative towards the next chapter in an engaging way, it really only illustrates what readers know and editors should have: the entire "Knightmares" arc was a long stall, filling issues and pages for no redeemable purpose bt to extend the run.

It's a worthwhile read, and at least there's the promise of a showdown soon.

Switching storylines, inconsistent continuity, and a disconcerting sense of not ever really be certain what parts of the story are "real" and what parts are hallucination has become almost a default for Tom King's Batman run, and that holds true for Batman #71. Unfortunately, that also means that Batman #71 is a bit of a mess to read.

The threat to Batman honestly doesn't feel that substantial. But, of course, that may be the ultimate beauty of the entire issue.

Every page is an exquisite delight so beautifully crafted you can feel the desert sun on your face as you read and as the Waynes make their way towards an uncertain destination.

This deep in, readers get it: Bruce Wayne is a mess with a whole lot of daddy issues. Do we really need to drive that point home every issue?

Not even the one "shock" reveal is enough to lift this from what feels like a major low.

If #75 was too narrow, #76 is open exactly wide enough. There's a lot revealed in the tight narratives in the issue and you'll want to carefully read every expression and every word on every page.

Everything changes in this issue and, even with a shocking semi-cliffhanger, it feels like the story is truly coming together"even if it's in the darkest possible way.

This is 100% a key issue of Tom King's run and an absolutely defining moment for the hero himself.

Batman #79 is another one of the more quiet, character-driven issues in Tom King's run and, like many before it, an excellent example of just how good this run truly is.

The ending of the issue isn't a twist, you can largely guess what's coming, and like many issues of King's run this one could have benefitted from being part of a larger story rather than a single issue. But it is an excellent issue, one that truly sets the stage for the end in a powerful and important way.

Ultimately what works here most comes in the last few pages, when you realize Batman's plan isn't going to plan. It makes up for the somewhat disappointing undoing of most of the series' drama and the fact that we still haven't gotten to Bane.

If you can get past the threadbare cliffhanger approach once again, though, the use of orange tones in this issue tells a story all its own and is a real treat for the reader.

Comic books, at their best, tell stories by showing and not telling. Batman #83 does that in a way that is rarely seen anymore and it may well make this heartbreaking issue the crown jewel of the entire run.

The second-to-last issue of Tom King's run arrives with Batman #84, but it's an issue that, with so much story left to tell, feels an awful lot like stalling as it takes readers not into a final showdown but reminds them how we actually got to this point. To be fair, it's a beautiful stall.

The overall issue ends up feeling a little too bland and a lot too clean for a Batman story and while one could argue that it's never been a Batman story, it's a Bruce Wayne story, even from that angle it misses the mark.

Overstuffed with far too many words"dialogue, narration, all of it"and further burdened by art that is disproportionate and poorly executed, Batman #86 drowns in its own failed attempts to imitate better works resulting in unrelenting mediocrity.

Batman #87 firmly establishes that we are in a new era for Batman, but it's an era fraught with issues.

The third issue of James Tynion IV's Batman has arrived and while the previous two issues have been a bit difficult, Tynion genuinely finds his footing in Batman #88.

The big threat in Gotham is starting to take a more distinctive shape in Batman #89 and thanks to a bit more time spent on Catwoman's part the story it's more interesting than ever.

Batman #90 gives readers what they've been waiting for: the Designer's grand design, the big plan, the "what is the Designer up to" of it all by revealing Catwoman's big secret and, to be blunt, it's kind of a let down.

The real star of the issue is both the art and sense of subtle vulnerability that Tynion gives Batman"an unexpected treat in a fairly average issue.

The bottom line is this: while the amount of time fans have had to wait for the issue thanks to the coronavirus pandemic make things feel a bit more special in the immediate term, the issue is only average at best.

The issue is simultaneously too much and not enough and ultimately lands as just an "ok" book overall.

The book is one that in a sense serves to let readers catch their breath before things really pop off, but it generally just feels kind of messy, almost like Tynion didn't know really where he wanted to go.

Ultimately, the issue feels like a half-hearted mashup of the weaker parts of Nolan's The Dark Knight and The Dark Knight Rises with a bit more Joker and yet another random shiny thing"this time literally with that new Batsuit"to distract from what is becoming painfully apparent: fun ideas don't always make for a good story.

Things aren't thrilling or groundbreaking, and there's still this nagging sense that the whole story is going nowhere, but the issue is an intriguing read if for nothing else than a glimpse at what Bruce's ideal world looks like.

Batman #97 finally reaches the tipping point where the grand art can no longer cover the holes in the story. By now we should know what Joker's grand plan is or at least be stepping into a showdown. We're not. And it almost feels like we never will be.

It's not a flawless issue, but it's probably a best of run and a damn fine read.

It's well past time for this story to come to an end that, if the lead up is any indication, is going to be nothing more than smoke, mirrors, and marketing hype. Just like the whole arc has been.

This isn't about frightening the dark elements of Gotham nor is it about saving a doomed city. Batman #100 is about nothing more than Batman's (and, perhaps, the author's) ego. That's both a waste of this story's premise and a crying shame.

It's an okay issue that feels almost like it could have been a summary at the front of something more exciting. Not bad, not great and in some regards better than "Joker War" was an entire arc.

The bottom line is that Batman #102 is one of Tynion's better runs, but the story feels sort of recycled which detracts from its overall quality. Perhaps instead of constantly trying to create "new" characters there should be some investment digging into Batman's lesser-explored qualities first.

We're a few issues past "Joker War" into a promised new chapter of the Batman story and yet it's the second verse same as the first.

Batman #104 may be the most interesting installment of the "Ghostmaker" arc thus far, but that doesn't necessarily make it good.

For all of the ideas that James Tynion IV brings to Gotham as he overstuffs it with flashy new characters, the real disappointment of his Batman run ultimately comes down to two things: an over-reliance on hype that is enver really delivered upon and a lack of Batman.

It's something that Tom Taylor's story tells well alone, but Otto Schmidt's art shows it as well, the end result being a beautiful, satisfying, and perfectly Batman tale.

This might be the best Batman book of the year.

If Tynion's main Batman work were even half as good as this story, readers of the main line would be in for a treat. At least with this book Clownhunter feels like a character worth caring a bit more about.

Writer Bryan Hill brings a bit of a fresh approach to the team by incorporating numerous big fan favorites, such as Black Lightning, Katana, and Batman, with younger characters The Signal and Orphan for team incarnation that feels a lot like the Bat Family and is equally as complex and slightly dysfunctional.

The same clich story elements that created pitfalls in the debut issue still exist here, but the action is hard and fast and fun to read while being even better to look at thanks to Dexter Soy's engaging art.

The theme of the Outsiders as a broken team continues this issue and, while that's a point already made in the previous two issues of Batman and The Outsiders, this week the story shifts towards healing even as, in a paralell plot, the person the team has been charged with saving falls further towards darkness in the hands of Ra's Al Ghul.

It's not a bad issue. It's just not particularly great as it lurches forward towards what is (hopefully) an action-packed future.

Nothing here is easy, as we're learning, and it makes for another solid read.

It's a solid read and a good lead in to the next arc in the series.

Batman and the Outsiders #7 still struggles a bit with too much exposition, but we're finally getting into the story for real now -- and it's one that has promise.

Batman and The Outsiders #8 is flat-out one of the best issues of the series thus far.

Bryan Hill knocks it out of the park with his stripped down, raw take on Black Lightning's anger and grief, and it makes for a stunning, satisfying issue.

It's exciting, intriguing, and feels like solid payoff for all the build up we've had thus far.

In truth, there is a lot of establishing in this issue, but it works well in that it helps resolve some of the emotional notes that have been running through the series as well as bring all of the major players to a spot where the real fight can jump off: going up against Ra's.

It's not that it's bad or problematic that the book puts so much weight on this aspect of the story; these relationships are interesting and inform the future of the team. The problem is is that these are conversations that happen in nearly every issue of the series, almost exactly as they do here, and thus far has done nothing to advance the idea of the Outsiders as an actual team.

For all of the frequent issues of imbalance in storytelling that Batman and the Outsiders suffers, this week's issue #13 is an issue that finds itself firmly set on stable ground with a chapter that offers up not only some explanation as to what's next for the team now that Ra's diabolical plan has been revealed, but delivers on some of the doubts and concerns that have been planted irregularly through the series thus far.

Batman and the Outsiders had definitely hit its stride in terms of story and while things do drag a little in terms of pacing in Batman and the Outsiders #14, the issue rightly focuses on a bit of character development"Black Lightning getting his upgraded powers in particular"in a way that starts to truly set things up for a coming battle with Ra's al Ghul.

It feels like we've been waiting for the Outsiders to take on Ra's forever at this point. The book just needs to get on with it.

The finale of "The Demon's Fire" storyline hits in this week's Batman and the Outsiders #16 and rather than go out with an impressive, spectacular finale, the whole story comes to conclusion with a whimper.

It's a slightly too-tidy wrap up, but it delivers on the characters in a thoughtful way that serves as a "what might have been" while also serving as an adequate goodbye.

The story is a little dense and a bit repetitive at points, but it's a wonderful read and an absolute must for anyone already invested in the Batman and the Outsiders story.

The much anticipated Batman/Catwoman #1 is finally here and while it's not a perfect book, it's one that lives up to the hype.

A solid, incredible issue you'll want to read over and over again.

The march towards the wedding of Batman and Catwoman continues, and Batman Prelude to the Wedding #1 Robin vs. Ra's al Ghul is perhaps one of the best moments of that march.

Batman Prelude to the Wedding: Red Hood Vs. Anarky #1 may be the weakest of the Prelude one-shots, but that doesn't mean it's not still a worthy issue.

In keeping with the rest of the prelude books, Tim Seely does an impressive job at revealing intimate sides of those in Batman's world and the way he deftly handles Harley and Joker will make you wish he wrote them all of the time.

If you aren't reading Batman Prelude to the Wedding, you need to. The third in the series, Batgirl vs. Riddler is, like Robin vs. Ra's Al Ghul and Nightwing vs. Hush, excellent.

Well-paced and carefully crafted, Betty & Veronica is an excellent start. The glimpse it offers into the friendship and inner lives of two of comics' most iconic female characters is a welcome and intriguing one that feels long overdue in a world that all too frequently revolves Archie.

Every page of Betty and Veronica #2 rings true, and you'll get to the end wanting more.

Betty & Veronica #3 is a thoughtful, carefully crafted read that continues to delight.

It's the second-to-last issue of Betty & Veronica, and Jamie Lee Rotante once again nails the female friend dynamic in an honest, relatable way.

It's sad that the series is done, but there's so much good to take away from the story. Jamie Lee Rotante has created an instant classic with Betty & Veronica.

There is only one way to describe IDW's Big Hero 6: The Series #1: adorable.

Billionaire Island #1 is by far the most intelligent, jaw-dropping, razor sharp, impeccably-timed comic you'll read this week or possibly ever.

From cover to cover the issue is great writing and great art and it's overall a great read.

Everything just hits here. It's another knockout issue.

This issue is another excellent chapter of this all-too-real story.

Some comics falter a little in their penultimate issue, that's not the case here. Russell continues to craft a layered story while Steve Pugh's art is just so spot on.

Taken as a whole, Billionaire Island is a great series, but issue #6 loses its footing, weakening an otherwise great run.

Bloodshot #1 is a comic with good intentions that doesn't work very well, save for a whole lot of explosions for fun's sake.

It's flat, it's predictable, and it's boring, leaving readers with no real investment or no real reward for opening up the issue.

There's just enough mystery about both the demon and Roux that you'll want to keep reading to find out more.

Another solid mx of humor, action, and exposition, Giles #2 is a fun read, and you can't help but find yourself hooked.

It's something that honestly elevates the entire issue from simply good to great as it invites you further in and breaks your heart with each and every page.

Here's the thing about Giles #4: the conclusion of "Girl Blue" is supposed to have emotional weight, especially after the revelations about Roux's past last issue. Unfortunately most of the book is tied up with tedious exposition that is honestly better suited to another medium.

It may be repetitive in terms of challenges, but each time the heroes learn something new and that more than makes this issue worth the read.

If you're invested in the series, it's a solid read, but this issue really is nothing to write home about.

Overall, kind of a mundane and average read. Here's to hoping they pull out all the stops next issue to make up for it.

The end is finally here for Buffy the Vampire Slayer and Season 12, and Joss Whedon's finale manages to pull together all of the threads of the series -- both television and the many comic book continuations -- into an oddly satisfying conclusion.

In many ways it feels an awful lot like a Cartoon Network show circa 2000 and if that's not enough reason to read it then I don't know what is.

There's aren't a lot of words in Cemetery Beach #3. The issue tends to let the art do the storytelling and while it does it well, the words that we do get as the story progresses isn't particularly deep.

Cemetery Beach is a unique book that suffers from a too-common problem: the concept is strong, but the execution sloppy at best, and the end result for issue #4 is a book that feels like everything is being run into the ground.

Cemetery Beach continues to be weighed down by the very thing that makes it interesting: strong concept, weak execution.

The story here is a common one: someone in power wants to remain in power and will do anything to stop those who threaten that. Finally that's becoming more clear, and with Cemetery Beach so close for our two protagonists, this issue feels like it all might come together at long last.

While the story is wrapped up in what generally works as a natural stopping place, if you've managed to make it this far with the series, you may well find yourself feeling like you've wasted your time.

It's scary, it's interesting, it's even got a bit of humor. The art is top-notch. It's a winner for sure.

Contagion #2 is perfect. It's got it all: there's action, there's some adventure, there's a dose of horror, a lot of heroes, and some unexpected turns.

Not to put too fine a point on things, but Contagion is a great series and if you aren't reading it you should be.

What started just as Ben Grimm's worst nightmare has quickly become everyone's and it's so satisfying, if not frightening to read.

Overall as a series, Contagion has been an incredibly fun ride and this issue brings it all to a fun, satisfying conclusion. And, of course, we get a great panel of Ben Grimm and his cat. Who could want anything more?

This title is simply a breath of fresh air and while it may not pack any major punch, it's just a delight to read and you won't be able stop yourself from wondering what the evil queen of Venus is up to next.

The story alone is brilliantly written, but it's well-supported with art and color that look every bit like Instagram snapshots, making the world of Crowded almost hauntingly like our own. It's a combination that sets Crowded off on an excellent start.

It's a stunning warning and an uncomfortably honest take, one that makes one wonder just how far Crowded will take us into the depths of our own hearts.

It's unsettling and that is a huge part of why Crowded #3 is such a fantastic read.

The issue balances that depth out by also fleshing out Vita and Charlie just a bit more as well and, just because it can, ends off on a cliffhanger that will leave you wondering just how the story can move forward from there.

Fast-paced from almost the word go with an incredible amount of depth and heart, Crowded #5 is absolutely perfect, especially when it comes to the ferocity of the library.

Packed with action and intrigue, Crowded #6 is a stunning issue that promises even more to come.

It's a wild ride, but a truly great one and a solid reminder of why Crowded is simply one of the best comic books to hit shelves in years.

It's a great issue with a lot of fun to balance the fact that we know even less than before.

The twist at the end is pretty much the cherry on top of the whole crazy sundae that is an issue that kicks off fast and simply doesn't stop.

Crowded continues to be one of the best comics out there with Crowded #10 this week, and part of that is because of how much of a departure the issue is.

It feels very much like a transition issue, but one that offers a lot of promise for what's to come.

Crowded consistently manages to be one of the best books out there but this week's Crowded #12 takes things to a new level as it shakes up the story in a big, big way while also closing out the current arc.

The book doesn't take itself seriously while also taking itself absolutely seriously and the result is a kick-ass read from cover to cover that also looks cool and delivers quite a few full belly laughs.

It's a fine collection, one that will make you wish DC did this more often.

DC Comics continues their tradition of annual holiday specials, and, as these things go, DC's Nuclear Winter Special is unique.

Really, this is one of the weirdest holiday specials DC has put out, but it has a ton of heart and is a fun, offbeat read from cover to cover.

Overall, Harley Quinn Gossamer Special #1 is a fun break from the usual insanity of the Harley Quinn world.

Dead Day #1 is an outstanding comic.

It's a good second issue from cover to cover.

It feels a bit too much like "Riverdale" in the worst possible way and that doesn't really move much this issue. Other than that, Dead Day #3 is a strong comic.

Well-written, heartfelt at times, and fast moving, the only real problem with Dead Day #4 is that it just wasn't long enough"it's an issue that certainly leaves you wanting more.

Still, it's an excellent read and, when taking this issue with the whole of the series, one of the better comics this year. I just wish there had been more.

Dejah Thoris isn't a title you can just jump into. In order to have an idea as to what's going on in Dejah Thoris #4, you really need to read the previous three, but if there is one thing that this issue makes clear is that it's worth it.

Haunting, masterful, and beautiful, this issue would be gorgeous if done all in black and white, but Sharlene Kindt's colors elevate the entire experience. It's a beautiful end to a beautiful series.

Simply put, this book is practically perfect.

Engaging and well-considered, Event Leviathan #1 both looks and reads like thriller, offering just enough in the way of twists and turns to take readers on a story that is both a little predictable and a bit unexpected, leaving the quiet possibility that this is a threat that the heroes may not be able to stop"while also making one wonder exactly who the heroes really are and what cost is worth paying for a "better world."

Event Leviathan is billed as a six-issue mystery thriller and after a stellar kick off issue, the second installment is absolutely living up to that.

Event Leviathan #3 may not be the strongest issue so far, but it certainly gives readers a lot to consider ensuring they'll want more.

To put it bluntly, Event Leviathan #4 is a damn fine issue of a damn fine series. Period.

The result is a damn near perfect penultimate issue that makes the wait for the finale that much harder.

Beautiful story, lovely art, it's an excellent closing issue to the short series, well-executed and well-done.

Exorsisters #1 is one of those comics that seems like a light, slightly campy and fun read, and for the most part that's exactly what it is.

What really makes it an interesting read instead of being cumbersome the way some backstories can be is that it's hard to tell who you feel most for, Kate and Cate or their mother as all three (well, two) are victims of deals with the devil gone awry. What makes the story even better, though, is how no one seems to learn from these deals.

Cate's story about her ex-boyfriend Buzz is genuinely interesting even if it only barely moves the story forward.

While the book often reads like it's trying too hard, especially with Kate, the only real let down this issue is that there wasn't more of it.

It's a very middling issue in a promising series that is starting to buckle under its own bloat.

Overall, though, Exorsisters #6 is a fun read and here's to hoping we don't have to wait so long to see what's next for the Harrow sisters.

The writing, the complete "one and done" story format, the art, and even the carefully crafted culture of The Feld all makes the book a standout. Come for the anthropomorphic cat. Stay for a genuinely original and fascinating story that will leave you wanting more in the best way possible.

Things take a sharp, sudden turn towards the resolution in a way that feels a little too convenient and easy, but other than that, Fairlady #2 is an absolute delight.

One of the best things about Fairlady is that each issue is a full story, but while Fairlady #3 does, in fact, give readers a full story, it also sets up a bigger mystery.

It's just a top notch issue and if you're not reading Fairlady then you need to correct that immediately. This book is fantastic.

The issue manages to pull off both a conclusion and a cliffhanger, defying convention much the way the book's heroine does thus making Fairlady #5 one of the best books out this week.

It's a simple book done beautifully"a real winner.

It's a gorgeous story, a gorgeous issue. A winner all around.

It's a back-to-basics story that is anything but basic.

This is a bold book and it's masterfully done and a great launch into "Future State."

The whole book is just incredible and easily one of the best Future State offerings. This book is a knockout.

Max Sarin's art, coupled with Whitney Cogar's coloring, is charming as well, bringing the whole ordinary story together and making it a little fun at the same time.

Overall a refreshing, darling issue.

Giant Days #38 is a rare issue where everything just works in the best way possible making it a great read across the board.

Giant Days continues to be one of those rare books where there's no need for something to fix or a mystery to solve. Instead, it finds its story in real-world situations that readers can easily identify with.

Giant Days may not be a book with a lot of action, but it's that relatability that makes it outstanding yet again this week.

It's another delightful issue. This title is really just a joy.

Every issue of Giant Days is a treat. It's rare that a comic book will tell a complete story in a single issue while still feeding the bigger picture that will, eventually, become a future issue's central problem.

Moving, funny, and brilliantly real, Giant Days #42 is another excellent issue you won't want to miss.

From cover to cover, this is a truly glorious book and while there is a little bit of cliche in some of Storm's thoughts about life and its meaning, this book is so beautiful we'll just look past it. It's wonderful.

"Angry Bird Part One" is compelling follow-up to the "Batter Up" story arc and while it's a lot of set up with the promise of action to come, it's fully of humorous pop-culture references that helps Harley pop right off the page and draw fans in as for what the eventual showdown between Harley and Penguin might hold.

This title is consistently a fun read, but this issue is honestly one of the best this week.

While the book doesn't need it to keep you coming back, the perfect pacing of this story will definitely have you eager to find out what happens next.

Harley Quinn consistently proves to be one of the most fun and well-crafted books DC has going right now and this issue is no exception.

Harley Quinn #41 is a mess, but it's a fun, fantastic, and utterly bonkers mess.

There's nothing to like here, which is really unfortunate considering how much fun the rest of this book has been lately.

There's no way to put this other than bluntly: Harley Quinn #43 is a mess.

The real threat that seemed so promising before feels too much like it was forgotten and by the time the arc ends, it's all so unsatisfying and lackluster that you can't help but wonder what the point was at all.

Harley Quinn works best as a character when she's allowed to simply be herself, and Harley Quinn #45 massively delivers on that front.

There is a fine line between letting Harley Quinn be herself and turning her into a discount Deadpool, and, unfortunately, Harley Quinn #46 leans a little too hard into the latter.

Harley's adventures on Apokolips come to an end in this issue, and while the conclusion is just as bonkers as anything you'd expect from Harley Quinn, there's a serious quality to the way things wrap up with Granny Goodness.

After a not-so-relaxing vacation to Apokolips, Harley is back and in top form in Harley Quinn #48 and that means a campy, somewhat bonkers adventure for the beloved character, but where previous recent storylines have lacked in presenting a fitting challenge for Harley, "Clown For Hire Part One" might just be the most Harley Quinn story in several issues.

One of the best things about the Harley Quinn book is that it's fairly predictable and, no, predictable isn't bad.

Harley Quinn isn't Deadpool and DC isn't Marvel, but someone might want to tell Harley Quinn #50 that. Not only is the issue one giant breaking of the fourth wall, it's an Avengers: Infinity War-esque story as well, just insane in a bright and sort of wacky way.

While the "oh no, Harley broke continuity" schtick is more than a little yawn-worthy, there's something charming about #51 with Captain Triumph being stuck out of his own time, trying to be a hero the only way he knows how and colliding directly with a society and time that he simply doesn't understand.

Captain Triumph's story continues in Harley Quinn #52, and this issue holds on to everything that made the previous issue a standout. The pacing is perfect, with the story sacrificing nothing in slowing down from the title's usually bonkers hijinks.

It's truly an outstanding read, and the art is pretty great too.

It's a lovely read, and it's even nicer to see Harley continue to evolve in a real and meaningful way.

The book is a true treat and a must-read.

If you follow comics at all, you're probably aware of something called Comicsgate and if you follow Harley Quinn you that the character -- and the book -- aren't one to turn away from a ridiculous fight. That's right, Harley and Comicsgate -- I mean, "Pettergate" -- collide in #56 and it's some of the most brilliant satire you'll read.

Harley Quinn #57 is honestly this title at its finest.

It's a fun read with real heart for a message, something that doesn't always come across in comics featuring Batman.

I won't spoil the exact challenge Harley faces this issue, but the book stands as a beautiful reminder for readers to embrace who they really are as opposed to what others think they are. It's a powerful message, and it's beautifully done.

This run overall is simply a delight, but this issue is a real winner you won't want to miss.

While the story is a little bit tricky to follow in places -- it has quite a bit of table-setting to do -- stick with it for just the insanity of it all.

It's a it messy with a lot of moving parts and while it does show some growth in Harley as a character in that she doesn't try to quit and is determined to save her friends without question, it's wrapped up rather quickly and too-tidily before being decorated with a little bow as part of Harley's trials.

It's raw, it's genuine, and it hits you right in the gut. That's the story the book is hopefully getting back to. It's the story where the character shines the most. -

It's a belly laugh, a punch to the gut, and a genuinely perfectly done issue. Read it. Now.

Harley Quinn #65 isn't simply the next issue in the "Trials of Harley Quinn." It isn't just another comic book. Harley Quinn #65 is a beautifully executed portrait of grief and the power"and bravery"required to face pain and loss.

If you're looking for a ton of zany Harley Quinn action, a lot of witty quips, and just the general insanity that comes with the character you're not going to find it here. Instead, Sam Humphries delivers one of the most emotionally powerful and moving issues of the story thus far.

Think of Harley Quinn #67 as DC's Thanksgiving Special and it's a clever, funny, goofy romp full of heart and a bit of sly commentary that is both fun and fresh.

The story itself in the episode is honestly a little thin"but it's perfectly fitting for the absolutely bonkers adventures the book takes readers on each and the parts of it that pack a punch do so in precisely the way you'd expect a holiday tale to. The art is what wins here with a bright and beautiful holiday display, Harley style.

It's refreshing and fun and funny and a great way to close out one year and enter another.

It's everything you could want in a Harley comic and more.

It's just A+ all around.

It's beautiful, it's real, and its heartwrenching just as much as it is funny. It's a fantastic issue; it's timing just makes it perfect.

Say what you will about the social messages of the book, but Sam Humphries delivers a damn near perfect bit of storytelling in this bonkers book. This is Harley at her finest, period.

Harley Quinn #74 is definitely a wrap-up issue, closing out her adventures in Los Angeles and bringing the story of her grief following her mother's death full circle. It's satisfying in a truly unique way.

It's a lovely send off for the title, a book that fully humanized one of comics more colorful and sometimes underestimated characters.

Harley deserves better, especially from her creator.

I said this last issue, and I will say it again: Harley Quinn deserves far better than this.

This issue is almost like a mini-movie and it's a hoot from start to finish.

With this being the series finale, the issue does a solid job of wrapping up the story while giving lots of tantalizing opportunities that we can only hope writers will take when Kate Bishop's Hawkeye returns.

It's a brilliant and somewhat unexpected way to end a run, and it's grimly perfect. Top notch from cover to cover.

Heroes in Crisis is now three issues in, and a few things have become clear: Tom King fundamentally does not understand Booster Gold as a character, and the story is going nowhere so efficiently that it's not clear what the story actually is.

Hex Wives #2 is infuriatingly uncomfortable from cover to cover, and that's quite possibly what makes it one of the best reads this week.

Even though the reader knows very clearly what they are reading and seeing, there's this incredible dissonance in how it's all presented that makes you think you're losing it (in the best way possible) too.

Full of genuine tension and expert characterization, Hex Wives #4 is stand-out issue with the story only getting better, richer, and more interesting as it plays out.

Hex Wives #5 is a top-notch issue, and it may just be the best of the series yet.

Full stop, this issue is full of butt-kicking girl power in a way that is fresh, intense, and worth rooting for. The cover art's homage to Bewitched is just the icing on the cake.

. This issue is largely a set up for the next issue, but even if the story is lacking, the colorful art is absolutely a delight with its perfect balance between the goofy and the grotesque.

Skottie Young's I Hate Fairyland is bonkers even as it marches towards the end and that might be what works best about the book.

I Hate Fairyland #20 is a great big acid colored middle finger to convention and it's brilliant.

When the end arrives, there's some hope that perhaps the miniseries is just a slow burn that will pick up in a few issues, but readers may have a weird, bumpy ride getting that far.

I know that as critics go, I'm probably in the minority on this title, but Inferior Five #2 is just as weird as its debut issue and while there is a bit more to this one in terms of story, it's starting to seem less like a slow burn.

Inferior Five has been a rather inferior book thus far, but this week's Inferior Five #3 does something a bit unexpected, reversing that quality issue by way of finally offering readers a sense of context to the story already in progress.

After an issue that felt like things were starting to even out and make sense, The Inferior Five #4 comes back feeling a bit messy, a bit hurried, and with artwork that looks as messy and rushed as the book feels.

Overall, the issue is a pretty average read and enjoyable if you're a James Bond fan, though the mystery the issue sets up isn't likely going to hold the attention of those without some sort of genuine interest in the character from movies.

While the issue does have some low points, particularly in places where Bond doesn't exactly appear to be the best at his job in surpring un-Bond-like fashion, the issue is very much exactly what you'd expect from an issue bearing the famous secret agent's name.

Overall, a fun read, especially with the two, unconnected stories format. Definitely worth checking out.

Beneath Dark Crystal is a compelling start to a fascinating story. A worthy read.

The entire issue is a done like a series of watercolor paintings, fitting given that Mokey is a painter, and is stunningly beautiful to look at. Very well done.

The tragic story Jareth tells Toby is moving and haunting, but has just a slight sinister edge to it -- more than enough to keep readers eager for more.

This book is truly a master work and if you aren't reading it you should be.

The art has a warm feel that is fitting with this fireside tale, making the whole issue a moving delight to read.

Jook Joint, the latest from Tee Franklin and Alitha E. Martinez, is uncomfortable even before the story starts with the big red "trigger warning" alerting people that there are some heavy, difficult subjects ahead, but don't let that stop you.

Tee Franklin's writing in this issue will make you uncomfortable and keep you there even into the final panel, and it's a good thing.

While having a current working knowledge of the goings-on of the DC universe would be a plus, the story does an excellent job of setting things up in a way that its accessible for all readers and doesn't loose any of the interest in the process. There's a lot to be interested in here, too, especially with Darkseid's perhaps unexpected role in the issue.

Come for the art, stay for the well-cracted and interesting story that will keep you wondering what's next with the same level of depth most books take many, many more issues to reach.

Justice League Odyssey #3 is the issue of the story that starts to plunge what could otherwise be a very thin premise into real story depth. It's a solid read.

Justice League Odyssey #4 makes a couple of things pretty apparent. The first is that Darkseid is up to something, which really isn't a surprise considering its Darkseid. The second is that each of our heroes, save for maybe Jessica, is going to find themselves worshipped. But once you get past those fairly thin elements of the issue there's a lot to enjoy.

While it's anyone's guess how things will fully play out, Justice League Odyssey #5 is an outstanding entry, and it's one you don't want to miss.

Overall, the issue is a turning point for the series, deepening the cosmic mystery in a solid, visually spectacular way.

The book's a visual treat as well making it a stand out in an already excellent series.

We finally get some answers in Justice League Odyssey #8 this week, and while the issue doesn't really do much with them, what really works here is the interplay between Darkseid and the heroes.

Justice League Odyssey has been an enjoyable read overall even when it dips into exposition territory and, to an extent it does that this week. However, this issue it's a weird shift of sorts that may finally be starting to give Green Lantern Jessica Cruz a real purpose in the story.

Overall, Killadelphia #1 is a strong debut. A dark, deep, seamless story that plays into multiple genres without becoming fully any one of them, the book offers a tantalizing nightmare of urban horror that feels real, rich, and mysterious. It'll infect you if you let it, and you should.

Paired with the beautiful and hauntingly understated art, it's a thrill ride of a story done with skill and class making it another stellar issue and one not to be missed.

Killadelphia continues to be a fascinating book, but this week's issue shifts a bit to digging into backstory.

Overall, the issue does what the series has done best from the start in revealing just enough of the true conflict to push the story forward while challenging the reader to consider the larger picture and this issue perhaps does that the best the series has thus far.

This issue has a real energy to it that makes it a thrill to read even with its darker themes.

While the story is not over (there's more Killadelphia coming) the end of this arc lacks the bite it started with. Still, it's a good book, just not great.

This week's Killadelphia #7 kicks off a new story arc and, in many ways, feels like a completely different book.

Rodney Barnes is a fantastic storyteller, and the crafting of this issue is further proof of that.

Throughout the series thus far Killadelphia has brilliantly shined a light on the racial inequality of America generally, but this issue and Jupiter's story is a sobering punch in the gut about the harsh realities of slavery and America's history"vampires notwithstanding.

It's a knockout issue with absolutely stellar art that tells the tale almost as precisely as the words on the page.

Killadelphia #11 feels a bit like filler even as much as it comes across as another unexpected right turn in an already slightly confusing narrative.

Deftly written and beautifully drawn, Killmonger #1 may be one of the best comics this year as it takes a familiar story and gives it completely new dimension. It will be interesting to see exactly where the series takes us, but one thing is for certain: you'll never see Killmonger the same way ever again.

It's a complex, powerful, and beautiful issue.

This issue is absolutely haunting, one that will linger in the reader's mind for quite some time.

Through hauntingly beautiful storytelling and truly excellent art, all the hope and promise of who N'Jadaka could have been washes away with swaths of bright red blood.

Killmonger's story is one that is a cautionary tale of the toxic nature of anger and vengeance, and despite the ominous final panel, it's difficult to not feel devastated about the road the once-promising young man went down.

Cover to cover, this issue is as good as it gets, making it not only an amazing Halloween selection but a truly great comic overall.

You don't want to miss out on this one.

Overall, this issue -- and the whole run -- is one of the best things in comics right now. It's a delight you don't want to miss.

With a good balance of story, action, and heart there are no tricks or lies here: Loki #1 is a brilliant, practically perfect first issue and I can't wait to see where the story goes next.

There is only one way to say this and it's directly: Loki #2 is less light and fun than its introductory issue, but that doesn't make it any less brilliant.

Loki is one of those titles that is a delightful read each issue partly because the character is just one that is fun to read, but Daniel Kibblesmith not only knocks it out of the park with how he writes Loki, but the surprising twist at the end of the issue is one that you might guess, but it's presented in such a way that it still manages to be, well, a surprise.

Daniel Kibblesmith is killing it with this adventure tale for the Trickster God and the conclusion of the series' opening arc is equal parts engaging, funny, and heartfelt.

The best thing about Looney Tunes is that reading each issue is truly the comic-book form of sitting down and watching classic Looney Tunes cartoons, and this issue keeps that tradition going strong.

There's sadly not much in Mall #1 to instill any real sense of attachment to the story. It may be a book about the end of the world, but whichever world ended doesn't really feel like our own, making this mall one you may not want to visit.

It's a fascinating start for a series.

Overall, the issue is a bit complex and requires a few reads to truly let the horror of it all sink in, but it's a fantastic book and I can't wait for more.

While the issue is light on action, it's rich in mystery. It's an excellent issue that will leave you wanting more but in the best way possible.

MirkaAndolfo's Mercy has been an incredible comic since issue one and this week's issue #4 tops anything we've seen yet.

The penultimate issue of Mirka Andolfo's Mercy is out this week and while it is every bit as visually stunning as its predecessor's issue #5 gets a little muddled in its storytelling

One of the most layered and engaging comics this year comes to an end with Mercy #6, but the issue is a little bit of a mixed bag.

As is everything with Monstress thanks to Liu's words and Sana Takeda's incredible art, Monstress: Talk-Stories #1 is haunting and beautiful"an absolute knock out.

Lavish, lush, and haunting, this might be the best issue in the Monstress story put out not just this year, but ever.

Monstress is, usually, an epic and intricate book that is both a pleasure to read and advances the story just enough each issue that the plot doesn't drag. This week's issue, however, is the exception to that rule.

Sana Takeda's art continues to be the absolute highlight of this book, though, and when combined with this issue's more deftly crafted story, you have a story whose sum total truly is greater than all of the individual parts.

Combine Liu's impressive writing this issue with Sana Takeda's sublime art and you have the best issue of the series to date.

There really is only one thing I can say about Monstress (other than how Sana Takeda's art continues to take my breath away each issue) and that is that I truly wish this were a graphic novel and not individual issues.

Monstress #18 brings to a close the third arc of the series and while the issue is, as many are, very dense, it is worth carefully reading each and every page.

There isn't a single thing about Monstress #19 that is anything short of excellent ,and if you aren't reading the title yet, this issue is a great place to jump in -- and you should.

Stunning to look at, deftly crafted, and a joy to read, Monstress is a book you won't want to put down.

Monstress' latest issue is a jolt to the story, presenting new mysteries and new momentum that will leave you wanting much, much more to dive into by the time the issue ends.

Monstress continues to be on a hot streak and while last issue flipped the story on its head by introducing Maika's father into the mix, #22 continues to turn the story in new directions that appear to be on a rapidly converging path.

As usual, it's another impressive issue and a solid reminder of why the series won a handful of Eisner Awards last year.

It's never been more clear that Monstress may be a comic book, but it's also an epic story, done as deftly and masterfully as any of the great fantasy classics.

The book is still hands-down one of the most visually stunning books available and there's no question that the details that fill the narrative in the issue are necessary. But it feels heavy and there's a lot there to wade through.

Marjorie Liu knocks it out of the park this issue with her crafting of this long, complex, ongoing story, injecting some stunning humanity into a moment in which the character embraces her monster self. It is, in a word, perfection.

It's an exquisite issue from start to finish.

The issue is full of tension, terror, and a sense of humanity. Monstress is consistently an incredibly comic, but this issue may be among its best.

It sometimes feels like heaping praise on Monstress is a bit of broken-record behavior. but Monstress #29 is a reminder of just how great this series is and this issue specifically, will leave you a little haunted at least until the next one.

Monstress is already a rich and dense comic that's deftly written. Monstress #30 just reminds you how skilled Liu really is.

Moon Girl and Devil Dinosaur #28 is worth reading if you're already invested in the series, but otherwise, this one is definitely a pass.

The art this time around is bright and fun as well, and overall it feels like the story is taking a turn for the better.

It'll be interesting to see what comes next for Lunella, but if this was what they've been setting up for, this whole arc ends up being a massive disappointment that ultimately didn't even tell much of a story at all.

Marvel has a long history of PSA comics, and this Moon Girl and Devil Dinosaur issue joins it. Unfortunately, there is zero subtlety to it with the issue practically screaming that smoking is bad.

Overall, the issue has a lot of promise, especially when you find out that the "Smartest Person in the World" might not be able to use her smarts to deal with Kingpin's plan... whatever it is.

There is a lot of promise with the idea of the "Smartest Person in the World" trapped in a giant dinosaur body, but it feels a little bit wasted with the issue largely being a set up to make Moon Girl look "crazy" to those who witness her during the mind swap -- something that could be used by Princess' advantage later on -- and for Lunella to try to solve things in one of the most reckless ways possible.

The plot of the overall story arc just feels like it's dragging issue to issue and in many ways #34 feels like it doesn't really have much movement. That said, the art in the issue is a treat " especially as we're seeing a whole new look for Devil Dino.

Moon Girl and Devil Dinosaur finally finds some balance this week, which is a little late considering we're nearing the end of the arc, but better late than never.

A little fun, nothing to write home about, and per the usual Lunella's personal Doombot kind of steals the show.

Coming off a long run of too-smug adventures for Lunella, this latest chapter is refreshing and fun and definitely worth a read.

This third part of the "Teenage Wasteland" story arc will keep you glued to the story, even right up to the surprise turn on the final panels.

G. Willow Wilson is a master at layering mutliple stories in one arc, and the conclusion of "Teenage Wasteland" is no exception.

Even though the issue is setting up a bigger story, there's no lacking in depth and meaning. Kamala's growth as a person is every bit as important as her heroics. No issue makes that more clear than this one.

Ms. Marvel #30 continues to do what this book does best: tell stories that are both about being a superhero and about being an ordinary person with real-life challenges and drama. However, that strength is also a weakness this issue.

Kamala has done a lot of growing up this year and this issue celebrates that in a truly unique, beautiful and engaging way.

It is a mystery of the universe as to how G. Willow Wilson manages to write Ms. Marvel so consistently and so brilliantly each issue, but she does it.

Sure, there's a villain, a bigger story, and real problems to be dealt with, but it's these deeper layers that make the issue truly great.

One of the best things about G. Willow Wilson's work on Ms. Marvel is that for every mystery that is solved the groundwork for a new mystery or chapter is laid. It's that storytelling momentum that is on full display in Ms. Marvel #34.

Ms. Marvel is consistently good. Each issue, G. Willow Wilson somehow manages to craft a balanced, well-thought out story that not only advances a greater plot but also delivers a character with a ton of heart and personal growth.

Bruno's ancestor is along for the ride as well, and the whole thing is beautifully written, beautifully drawn, and comes together as one of the most lovely issues of comics this year.

Ms. Marvel is at its best when the story is simple, direct, but deeply real, and this issue fits the bill. Kamala learns a lesson about life itself, and it's one that we can all benefit from being reminded of.

It's a charming, delightful, truly exciting read and you certainly don't want to miss it.

Overall, it's a stunning, festive, deeply enjoyable read sure to be a holiday classic for years to come.

Things feel stale, stuck, and utterly without substance. It's an issue that feels phoned in.

Frank Tieri has somehow taken the hot mess that was the one-shot story in Harley Quinn #42 and turned it into a witty, fast-paced, brilliantly self-aware and bitingly satirical thrill ride so full of Easter eggs and truly interesting story that you won't want to put it down.

Here's the bottom line: Old Lady Harley #1 was not a fluke. Frank Tieri continues to craft a story that is equal parts bonkers and compelling.

Overall, it just feels like a lot more than is necessary even for this completely out-there title.

Come for Mayor Lobo, ignore the bad neon tackiness, and stay for a truly interesting step forward towards finding out what the heck is really going on with the Joker.

Old Lady Harley has been a wild, bonkers ride for its whole run, and that remains true for this, the miniseries' final issue.

Overall, while Olivia Twist may not be the best comic out this week, it's certainly off to a promising start and one you certainly don't want to miss.

We don't break any new ground in explaining how this dystopian world comes to be, which is a big bummer as it's one of the more interesting elements of the adaptation.

There are a few little hiccups along the way, especially when it comes to the last few panels that leave readers with some questions about Livia's beloved Pip, but it's clearly a setup for the finale, making this a fitting cliffhanger, even for those who have read the source material.

The book would have been done much more justice had it been a five-issue run instead of a four-issue run, and because everything had to be crammed into one final issue, the final race to the end simply stumbles.

Overall, it's a solid issue capping off a solid series, and one can only hope we'll see more of Eel O'Brien soon.

There's not a lot of new ground covered, and it definitely feels like it's setting up for something more harrowing, especially considering the final panel of the issue finds Raven in serious danger.

If things don't pick up soon, it's going to be a long journey to get to the end of this 12-issue series.

The longer this limited series goes on the more it feels like the real mystery here isn't what is going to happen to Raven, but when is Wolfman going to start writing a story worth reading? At least the art is nice, as always.

Not quite to the midpoint of the limited series, Raven Daughter of Darkness #5 suffers from the same bloated exposition that much of the rest of the series is weighed down with.

We hit the midpoint of the 12-issue Raven: Daughter of Darkness series this week and, in many ways, it feels like we're starting a whole new book.

After nearly every preceeding issue of Raven: Daughter of Darkness somehow being more about Trigon than Raven, #7 finally seems to give Raven a story independent of her father.

There are too many moving parts, too many questions, and things simply move too fast to have a solid understanding for what's going on.

The same issues that have plagued Raven Daughter of Darkness for its entire run continue in #9. It is bogged down with exposition and the continued "mystery" of whether Baron Winters is on the up and up while Raven is tangled up in uneven portrayal -- the issue is overwhelmingly lackluster and unnecessarily tedious.

There's only two issues left in this miserable run, but at this point we're no longer limping to the finish. We're all but dragging the corpse of what could have been a good series.

The penultimate issue of Raven Daughter of Darkness finally manages to get it right.

In the end, Raven Daughter of Darkness is a clumsy, often dull, and mostly poorly executed story that was never quite sure what it really wanted to say.

First dates? Awkward. A first date to talk about the weird behavior of your friend and teammate? Beyond awkward, but in Red Hood and the Outlaws #19 writer Scott Lobdell manages to make those awkward exchanges engaging and engrossing.

Scott Lobdell's dialogue is sharp and precise while Dexter Soy's art (with color by Veronica Gandini) is pitch perfect, particularly in the issue's final panel.

Bizarro's sad secret is finally revealed and the slow burn build up has an emotional pay off. But what makes Scott Lobdell's Red Hood and The Outlaws such a good read are the layers built into each chapter of the story and this latest one is no exception.

Red Hood and the Outlaws #22 is a bit of a filler issue, but even for being a filler issue Scott Lobdell's ability to tell a layered story shines.

Overall the issue, is well-paced, well-told, and brilliantly layered -- assuming you can read it through the tears.

If you thought the last issue of Red Hood and the Outlaws was emotionally devastating, then this week's issue will leave you wondering if you're even reading the same series.

There is so much packed into this issue that you won't want to miss a single panel of this incredible, expertly crafted story.

Yes, Jason Todd is beating the crap out of and killing pretty much every bad guy in his path, but there's a focus to his actions that reminds the reader that there is a bigger story here, one very worth sticking around for.

Red Hood: Outlaw #27 is a masterpiece of a comic. Visually beautiful and narratively engaging, it goes far beyond simply telling a story of loss, grief, and moving forward. It makes you feel it in your very bones taking on the subjects of trauma and loss in a way that his respectful, honest, and utterly unpretentious.

With the previous issue being nearly flawless, it was unlikely this week would reach that same height, but Red Hood Outlaw #28 might as well be taking place in an alternative universe.

Jason is growing a lot overall in this book, but this issue might be some of the most marked character development yet, and it's a joy to read.

Overall, issue #30 continues a string a of solid reads for the title, cementing its place as one of the better books currently out there.

The issue is ultimately a case of a lot of build up that doesn't fully deliver, which is truly unfortunate, because it was a great ride until now.

It's definitely a solid read and maybe one of the best issues to date.

Horror comics can be kind of a mixed bag. They either jump too quickly into a complex and twisted tale and, thus, don't offer context or they don't jump quickly enough and end up giving readers too much to work with but nowhere for it to go. Red Mother, however, manages to get the balance just right and sticks the landing with a creepy and intriguing first issue that sets up plenty of mystery"and it's mystery that actuall feels worth exploring.

The issue answers literally no questions and offers up a bunch more, but it's intriguingly done and beautifully drawn making it another outstanding issue.

Good horror stories require careful pacing and generally, that's something that The Red Mother has excelled at, unfolding just a bit of the mystery and its terror each issue. However, in its third installment, things don't come together quite as well as in the previous two.

Red Mother is probably one of the best horror mystery comics out there and issue number four definitely is a reminder why.

Red Mother continues to be one easily one of the best horror comics out there and #5 is no exception.

If you're looking for action, Red Mother #6 isn't it. The issue has a slow, rather mundane pace, but it serves to bridge Daisy's story from her major step forward last issue to her settling into her new life in London.

It's an issue that is both a lovely story and just a touch foreboding"just perfect for a horror series.

The Red Mother is, overall, a fantastic series and each issue does a solid job of building on the one before it, expanding Daisy's story with a horror slow burn that is both chilling and intriguing at the same time. However, The Red Mother #8, while sill technically good in terms of art and execution, feels a little lacking.

Nine issues deep into The Red Mother and there are somehow even fewer answers than what we started with and while that sounds like something that should be a red flag that the story isn't going anywhere, it's the opposite that's true.

All of the little stories that have been slowly simmering away in Red Mother finally come to a head in The Red Mother #10 with some major reveals.

As a standalone issue, it's a good one, but taken in context with the rest of the series, it may well be the best. It is absolutely fantastic.

There are strong ideas here, but they just don't come across as fully-realized or entirely fleshed out.

Overall, Red Sonja's a solid win for the series and one you should absolutely read.

Ultimately, Redfork is a knockout comic book. Both a horror story and a real-life tale of terror, the story injects a great deal of humanity into something that could so easily become caricature. Beautiful, haunting, and horrifying all in turn, it's an absolutely fantastic book. Read this instead of watching Hillbilly Elegy and prepare for a horror story that is truly terrifying for the reality reality it depicts, not just the supernatural terrors.

Overall, it's an issue and a story with a specific audience, but the interpersonal conflict created between the characters' personality types makes it relatable and a fairly solid read. We'll see if that holds up.

The art is lovely, but the issue itself just feels like a lot of work for readers.

None of the characters ever really flesh out, the quest is too easily completed and the book just stops. The art continues to be lovely, but the whole thing just ends up feeling a bit empty when the dust settles.