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It's not a bad thing to say B.E.K.: Black Eyed Kids #1 is $1.99 and worth every penny. It's a good thing. We're supposed to be able to pick up a bunch of comics for $20 and go home and enjoy them, not four books for $20 that "pave the way" to a tie-in to a movie based on a story I've already spent $50 on!

All in all, this a great book to flip through, to encourage an aspiring artist. If you are looking for plot or character development, this book has little depth.

Though de Campi excels at writing brutal stories where no one is safe, this issue takes the steam of out of it a bit and seems to add a bit of punctuation to the title, No Mercy. To be perfectly clear, while a review copy was provided to me, I still plan on buying my own. While every story must have a slower chapter, I look forward to having the complete collection because of Alex de Campi's is one of the best writers when it comes gruesome tales and there is no doubtNo Mercy will be worth owning.

The art and story simply trip over each other rather than building one and other.

The heartache discovered in this issue seems to be the promise that the golden age of the book is gone, and the suggestion that were in for a repeat of the forgettable All-Out War storyline. Betrayed seems like a better description for a readership that deserved to see this issue be a return to the classic storytelling of The Walking Dead.

The hardest part of the series is being one hundred and fifty-one issues in and wondering at what point to give up and walk away. Every issue is discouraging and it forces even the most die-hard fans to ask at what point are you are simply dead with no interest in coming back?

The tone is on-point which makes it easy to believe these observations will be resolved going forward. In fact, its the books voice that makes the next issue so enticing. Now, would anyone like to place bets on whether or not Louise killed her girlfriend?

At this point, the conclusion in the next issue cant do much to undo the damage of this issue. The climax has been botched by uncertainty and unwelcome meta-intrusion. If there was no idea how to resolve the conflict and climax of this story, what is the point of the upcoming Fight Club 3?

Fight Club 2 #10 does not expunge what happened last issue. In fact, it further breaks from traditional storytelling, especially within the comic medium. However, it's direction is challenging precisely in the way a real story should be challenging. It is an organic and authentic progression that makes clear the disappointment and frustration that came in the last issue was just the death pangs of leaving behind the confines the story still lived in. It has become, like Tyler, something more.

Ultimately, Paper Girls will make a fantastic hardcover collection. When read from start-to-finish, the story will feel far more fast-paced than stalling, as it does reading one issue a month. The apple/tree of knowledge theme that continues to surface will help characterize the Calamity that is mentioned in this issue, rather than seeming like a bit of strange dcor. Most importantly, it will bring to life the neon-pastel dream created by Cliff Chiang. His art in this series continues to be the most redeeming aspect of the book and warrants readers picking it up, no matter what complaints can be had with the story.

Patrick Healy makes pins, writes stories and distracts people from working. Check out more of his work here.

Burrows continues to shine in this issue. His ability to create very plain and average people contrasts perfectly with how well he captures complex emotional expression. No one looks as mad and delighted as his characters, nor does any monster look to be as perfectly blended between dark fantasy and reality. From scenes of melee to the saprovores to which King George belongs, Burrows visions perfectly compliment the situations and characters Moore offers.

First, let's begin by saying it's rare that a colorist steals the show. Yet, that is absolutely the case with Jason Wordie. Wordie's colors avoid the drab temptation of the story's Texas prairie setting and instead engages the reader's eye. Warm and cool tones provide a visually interesting storytelling experience. The pages slide green to red, coloring monsters in purples and tan in ways that not only defy the use of words but capture the sense of the fantastic hidden within an otherwise dreary world.

Again, this issue is almost entirely backstory so there's not a lot of room to review plot or even conflict, but given the quality of what's on the pages and the reputation of the creative team, this book is perfectly executed and is highly recommended.

If someone asked me if I would recommend this book, I would say yes because it is a great book and it is fun.

Though this social commentary stands out strongly, Bendis is really returning to some of his glory days with this title. For a long time, the fact that he seemed to be writing half Marvels catalog on top of his other projects was diluting the quality of his work. The sharp dialogue that had always been his calling-card began to feel contrived and his stories began to fall more towards clich. Whether as writer hes returning to his former glory or simply rejuvenated by a character he is deeply connected with is unclear. Still, this book, in particular the cartoonish recollection of the previous conversation between Miles and Parker, offers great potential to give the reader the best Bendis has to offer.

I think this is a wonderful book. I would recommend this to anyone because I can not really think of anything that was bad about it.

Obviously a great deal of credit has to be given to Robert Kirkman for everything he's done with these stories for the past 13+ years. However it is such a breath of fresh air to see the story through the eyes of a new creative team. The reader races through the story in anticipation, eager to recapture the sense of not knowing what would happen next. As the story is a one-shot, I won't tell you, either.

The book isnt easy to find so make sure you start calling your local book stores now to see who will be carrying the second issue this Wednesday. The first issue is listed for an average of ten dollars on eBay.com but truth be told its probably best to go directly to the publisher to order the first issue. This three-issue miniseries from 21 Pulp will be what youre loaning to your friends and insisting they read years from now.

King uses subtly exceptionally well. From the Nobody cared to kill the cat ending (the meaning of which you will have to read for yourself), to the who are we…? questioning of U.S. soldiers, the theme of dehumanization is ever present and applies to everyone involved. When people speak of writing as a craft, this is the quality of work theyre discussing as King has continued to expertly apply his literary expertise in this second issue.

This is issue is more Tom Clancy than Dick Wolf, the art more like the storyboard for a tense political thriller than a dry "whodunit". Of all the fantastic books writer Tom King has on the stands right now, this is by the far the best. Not only standing above his own work, but towering above anything else being published at the moment. Mitch Gerads's course realism creates the perfect witness to danger and tension within this world. From his angles to his close-ups, he shows himself to be as much a cinematographer as a comic book artist from issue to issue.

Perfectly balanced, reminding us there are always bad apples in society who will long for darkness, the issue is a complete image of the new world. Connecting not only to the violence of Olympus as characters still wander the old killing fields, but to the optimism of happy endings discussed in the opening, the last few pages are lovely and healing in their imagery.