Archie #1 also features Mark Waid's last thoughts and even the original Archie story originally featured in Pep Comics #22 (1941)! You see, naysayers and whiners around, Archie "evolves", "changes", "morphs", "transforms" and "recreates" from time-to-time, depending on the circumstances and relevance of the readers' tastes, and the demands the character(s) and its company owners must confront. And, it has the complete Archie #1 cover arts in its cover gallery.

Archie #3 sets the mood to an interesting story arc while presenting a serious matter of the social-economic and cultural divide, though still retaining the hilarity that defines the Archie comics. Waid's scripts are absolutely solid, and Fiona's arts are equally stunning. Though this is Fiona's farewell issue yet, Annie Wu's cover art sample may continue the greatness of this lighthearted series.

After it is said and done, Batman #44 is one of the best superhero standalone comics for this year. Scott and Brian craft a psychoanalytical and reflective tale of the Dark Knight that fuses with their signature noir and detective storytelling that point out the frailties of the supposedly powerful figure. It is a fact that this kind of exploration is nothing novel at all, but the current creative team enhances that discourse, resulting of producing a rare visual literary gem.

Batman: Eternal has its great, average and disappointing moments; but the last chapters deliver so well that the entire series can be considered as the New 52 Batman canon. Tynion IV shows everyone he has the writing chops that is identifiably his own. Of course, Scott Snyder masterminds the entire comic narrative here, and Tynion serves his place as an excellent comic "showrunner". I say, Batman: Eternal deserves an omnibus treatment here. Hopefully, DC responds to my humble request.

There is some rather graphic imagery or two that may disturb some sensitive and religious types. And, there are nudities around, hence deserving a "mature" rating. Regardless, Black Magick #1 successfully opens another Rucka-female lead protagonist that has "dark and mystical" origins. Combining with his usual crime and suspense flair, this initial issue delivers on a great start, hopefully sustains that kind of consistency until the end of this "Awakening" arc. The rest of the female creative team, most especially Nicola Scott, also executes brilliantly artistically, clean and even evoking the sense of mystery. Black Magick #1 succeeds and let's all pray Rucka and Scott provide us more intriguing witchy tales sooner than later!

Regardless, Black Magick #3 may be considered as less graphic as the past previous chapters, but the storytelling of Rucka and the excellent illustrations of Scott remain the high consistency of excellence. Moreover, a new set of characters is introduced here that definitely adds some tensions and/or excitement in the succeeding chapters.

Black Magick #5 ends with Rucka holding the readers' attention until to the last page with building up suspense up to the climatic showdown. It would then eventually lead to the introductory of a more powerful force that Rowan and Alex must confront in the next arc.

Rob Liefield"creator of Deadpool, Cable and the X-Force " is considered one of the most polarizing and controversial comic creators ever. This time around, he returns to his Image roots by unleashing one of his signature creations, BLOODSTRIKE. In the new volume of the titular series, Liefield serves both as the writer and artist, while Jeremy Colwell does the coloring stuffs with Bloodstrike #1. But the better question is; does Liefield's overall quality as a comic creator improve since then? Sad to say, I can generally mutter NEIN.

Soule's script is straightforward, but there are some panels that dialogues are deemed verbose. Yu's illustrations are improving as the years pass by, particularly women, though the teeth are somewhat distracting to view. He becomes a sort of minimalist but fused with his hyper-kinetic brand of his yesteryears. Alanguilan's inks are toned down for the better since the setting is, well, daytime, so goes to Gho's colors that blend well with the surroundings. Overall, "Civil War #1: Whose Side Are You on?" is a good start of the possibilities on a long protracted warfare on ideologies and the actual costs for both parties in superhero fashion. There are more to explore here, and Soule, Yu and Alanguilan will offer us more to come".

Overall, Civil War #2 remains intriguing and engaging that can sustain the readers' interest to the middle portion of the tale of the endless conflict. Some red herrings are in-placed to keep the readers off their feet a bit. But the art department shines more so for Yu et al displays some of their excellent artistic illustrations yet. Now, let's see how things turn out in the next issue.

Civil War #3 actually continues the riveting emotional roller coaster of the ongoing conflict that the creative team undertakes since the "shot that heard the world" took place. Though both Yu and Alanguilan's artistic takes slightly dip than the previous chapters, their sequential and subtle illustrative interpretations compensate the former. Perhaps, they are giving their best for the next two intriguing chapters left. And lastly, another twist emerges and this is where the true heightening of the overall plot-driven moment is getting better.

Nonetheless, Civil War #4 hits the penultimate gear as smoothly as it should be. Story-wise, Soule delivers probably the biggest surprise in any Secret Wars tie-in ever, which may or otherwise influence the outcome of the war next month. Yu and Alanguilan's respective artistic illustrations are commendable, avoiding the perennial problem of artistic smudginess due to usual working rushed deadlines. The overall consistency is what mattered most in the Civil War series, and I believe further it will end with aBANG!

Overall, nothing extraordinaire here happens, just a start of the competition of existential survival that we are so familiar with. The positive side here is there are loose tie-ins that can be read independently. Again, if one wants to follow the main event, follow Convergence. If otherwise, then go to your favorite DC character tie-in Convergence stories.

Indeed, there a couple of lines that are forced, similar to the last two issues, but these are minimized and hopefully that would decline further as the rest of the event progresses/intensifies more. Admittedly, there are some minor artistic lapses, like some scratchiness or littering of unnecessary lines. Nonetheless, these are mere nitpickings to the overall quality that may prove encouraging to the hype that is the Convergence. I don't mind the hefty price at all since chapter two delivers really.

Due to the continuing mistakes or flaws plaguing the Convergence, I decide to skip the last three issues until the ultimate one. Call this a patriotic or nationalist part of me, but Pagulayan, Segovia and Paz are the reasons why I pick the Convergence hype in the first place. And due to the sneak previews of future DC titles or the post-Convergence aftermaths, there's nothing to expect more than a rebooting (last since 2011, the New 52) or re-numbering of sorts. I commend the Filipino trinity abovementioned of taking part of this comic event. If only the quality overall is good to begin with, and inspiring at the same time. I will come back on Convergence #8.

Let's put this way, Convergence ends with a mere whimper.

Perhaps, the critical points are the purists' perspectives. This new Dark Knight series possesses neither Frank Miller's nor Klaus Janson's art at all (plus, Miller's former wife-original colorist, Lynn Varley). However, that is too much unrealistic given with Miller's current physiological state right now. This Dark Knight III: The Master Race #1 is actually a great chapter to the ever expanding Frank Miller-Dark Knight universe! Can't wait for Carrie's fate!

Seriously, it needs to be reread twice or so to comprehend his lingo. Moreover, it is clear that this series targets the follies of religious fanaticism and to some degree, dogmas about race superiority. Fickle-minded types and simply anti-Millers around are best to avoid this great revitalization. Nonetheless, Dark Knight III: The Master Race #2 maintains the great level of consistencies the creative team delivers, particularly with Azzarelo, Kubert and Janson. There are certainly some twists and/or surprises along the way, but the bottom line here is that Brian and Andy truly respect the Dark Knight legacy and even elevating the ante to the next level; as what the final pages like to suggest.

There are some coloring inconsistencies, particularly on Saya's neck. Profanities imaginable are totally littered, including racist slants/terms. But once more, this one goes with a big finish and another pulsating cliffhanger to expect. However, classes begin again in two months time. DAMN!

Deadly Class #17 is one of the best and bloodiest openings of the series so far. It opens with the blast, and it recaptures the intensity and suspense of the earlier classics mentioned above. Also, it analogizes the extreme form of the final examination period, which only Remender and Craig can visual in this medium. I am definitely going to sink my teeth here! There is no guarantee who among the present batch will get out ALIVE!

And seriously, why the paper used here is the rather inferior type? If this comic worth less a dollar, then I would just ignore that, but it is still priced a rather expensive $3.99. No wonder why many are fed up to shift their body and souls to indie comics that have the same price, but the overall quality is way superior than this and many present ongoing Marvel titles. Well, it's Deadpool we're talking about! Sigh, Nonetheless, Deadpool #6 kicks off the 25th Anniversary hype that will actually formalize next month, and another set of new characters to be included in the quarter of the century canon of this Fourth-Wall Master Breaker. Of course, some serious moments are highlighted here; toning down the same hilarity and boisterousness we are so familiar with this degenerating funny series. Finally, the visual department doesn't fail either too. So, my fellow chimichanga eaters, let's salivate and devour this sixth chapter right now!

Tyson Hesse's Diesel #1starts with a great bang. Characters are well-defined. The premise is direct. The narration is honestly accessible to virtually for all ages. The drawings are equally top-notched and totally inspiring. And, it delivers in almost all levels in graphic storytelling and aesthetics even so. Creator Tyson Heese is one of the comic innovators that should be watched upon because he is just getting better as we speak of. His command in sequential storytelling and the artistic executions are already in great levels. Moreover, I want to see more of Diesel's self discovery and misadventures in the following chapters, as well as the fate of the floating aircraft. BOOM!Studios should be commended as well as for providing us thismini-series, and discovering Heese. HIGHLY RECOMMENDED!

Divergence offers both jaded and new comic readers/lovers a good starting point on DC's premier heroes (and team). Though a prior reading of the title's respective previous arcs is highly suggested (for new readers) and Romita, Jr's artistic style may turn off some, nevertheless, Divergence fulfills the objective of grabbing the readers' attention, and most possibly, readers may continue reading future installments or succeeding issues. This is indeed an excellent free issue!

One of the most common weaknesses in a silent issue is some of the panels need wordings, either dialogues and/or thought balloons. True, the ultimate page has one, but I believe that some of the panels should have one or three, especially the onomatopoeia of the wounded or the killed and the explosions at least. As usual in many, many great Image titles, this one possesses frontal nudities of a single character, that same target. Aside from the usual violence East of West readers are accustomed so well; those graphic illustrations are done within the context of the story, hence those exciting and heart-beating scenes. Nonetheless, East of West #22 is a growing evidence of Hickman's evolutionary transcendence as a comic writer and one of the few visual narratives that highly satisfactory achieves of a great silent comic chapter ever. So, the war that will "end" all wars is just in the horizons".

In conclusion, Fables#150/Vol. #22 literally finishes off Vertigo's longest comic series. It nicely ties so many loosed ends that leave virtually no more speculations or what if's in the air. The creative team fulfills its promise to Fables readers and fans no matter what. And most significantly at all, Lan Medina is part of this fairy tale roller coaster finale and farewell ride!

With some reservations on the selection of the ending and the left-over that surely can be expand further, Hawkeye #22 is a long delayed ultimate send-off that gives Clint Burton and other characters (particularly Kate "Hawkeye" Bishop) a more relatable, humane, iconic but heroically superhuman attributes. As a whole, Matt's Hawkeye will become one of the hallmarks of the postmodernist yet highly accessible superhero comic series so far! Long Live HAWKGUY!

I HATE FAIRYLAND #1 can be definitely viewed as iconoclastic, if not entirely sacrilegious. This issue may be as such, but on the broader perspective, I simply just love how Skottie Young flexes his true artistic taste to the next level" LET'S ROCK!!!

As always, the language applied is yet in 21st century context, with no innovative terms so far (perhaps the surnames I assume). Probably, we are treated in the present-ism in the faade of the futuristic take of struggle, survival, chances and fate themselves. Once again, the creative team remains consistent in their brand of storytelling, and the plots involved are also becoming engaging. A great read!

Invisible Republic #4 is a continuing tale of excellent reading. It never falters like the previous chapters at all. It is time to rethink what we really want and desire as a human species in our dream of advancing ourselves beyond our primary home, planet Earth.

I decide to skip my previous criticisms since there are still the same as the previous reviews I often cited, but at least, the names of the characters are a bit "futuristic" to say the least, though the linguistic structure is still in the 21st century at best. Yet, Invisible Republic #5 and the series itself demand our attention. This is almost akin a textbook of future warning of humanity's follies. Reading Invisible Republic is almost similar of the warnings of prophets and historians alike: Learn our mistakes to prevent tragedies all over again. Superb reading!

In conclusion, Justice League #42 shifts to a more grand scale of storytelling and artistic prowess that further shows no stopping right now. Johns remains consistent and he should be. And Fabok's art is already beautiful and even metamorphosing into something majestic, similar to Jim Lee's artistic heydays. And, my superhero transforms into what I always insist in the first place. The Darkseid War is FANTASTIC!

Of course, my only complaints are the following. One is Batman rather sits all the time than doing his awesome martial arts stuffs that we are all so familiar with. In short, he is becoming a rather boring fellow to watch if not for the great storytelling execution of Tomasi and the incredible artworks led by Pasarin. And second, the concepts of "pre-emptive strike" and "omniscience" are nothing novel altogether. Actually, I feel like watching Minority Reportwith Tom Cruise in the bat suit (pun intended). Remarkably this is a temporary moment in Batman mythos. But other than these imagined flaws, this tie-in is overall an excellent chapter for the company's current The Darkseid War maxi-event.

Klaus #1 starts off Grant Morrison's subversive view on the origins of the popular iconic figure. Unlike most of his works, this is highly accessible to read, similar to his We3 and All-Star Superman series. He indeed incorporates several cultural and historical themes into this iconoclastic mix, though this one feels nothing historical at all, just for entertainment reading purposes only. Dan Mora's illustrations carry the burden actually. He draws as authentically as possible, especially in respect to anything Norse or Viking stuff. If readers want to know the historical connectivity of Santa Claus to the medieval and ancient times, they can just Google or better yet, read some serious historical and cultural books done by the specialists and experts of the fields. If one wants a plain comic reading pleasure, this series is a good choice.

Criticisms aside since I already highlighted here, Lazarus #21 concludes another intriguing tale of family and war, with surprising shocks and surprises that top-caliber writers like Greg Rucka can execute with finesse. Well-balanced in storytelling, this issue delivers some unflattering truths that are still evident in today's geopolitical landscape"war is brutal whatever embellishments are laid on, and whatever gender one could be, the cunning, the determined and the strategic minded type can influence the overall outcome. The name Poison deserves well here, not only in the most literally sense but the overarching repercussions it can influence to the future arcs after this one, particularly the femme fatale herself.

Though there are awkward faces in the far angle perspectives and some heavy inking in some panels, Low #11 starts in the right note with a great positive vibe to smoothly transit to the next intriguing chapter.

Jason Aaron and Ron Garney truly deliver their promise in this final (?) installment of cursed-driven family. They give us a bittersweet finale in the most unexpected way yet. For the mean time, let's enjoy Aaron's other tales like The Southern Bastards and Thor.

Mortal Kombat X #9 may start a new story arc, but the dialogues alone are read like some young adult-themed novels. The art is the heavy lifter here, though the artists have their respective shortcomings as well. Hopefully, this pessimist view changes in the remaining/succeeding chapters to make the prequel Mortal Kombat X the canon of all Mortal Kombat narrative, as well as finishing off in a rather positive note indeed.

Henceforth, Narcopolis: Continuum #1 presents the introductory of the story's main protagonists and the overall theme. The direction is already set, but the writer cleverly puts elements of detective and suspense narrative storytelling to put readers off-guard on the potentialities of the obviousness. Let's face it, time-travelling is already explored, but here, medicine takes center stage and becomes the instrumentality of the possibilities and consequences in the near possible futuristic scenario or two. This is a fascinating read.

Chamberlain's expertly placed collage and montage are just as wicked, iconoclastic, and surreal as ever, especially the anthropomorphic imageries that symbolized the hypocrisies and contradictions the holies/ moralists represent and their calls of "self-regulations"/"censorships" on the comic medium itself. Quite indeed, this issue really pushes the limits of the acceptable and the unacceptable. But that's art all about: making us uncomfortable to push the boundaries of art itself. Read this gem at your own risk. HILARITY!

Saga #25 is a superb start, new chapter for the omniscient but still invisible central figure, Hazel, to narrate. True comic believers/lovers/aficionados must read this one!

Quite true, there is something more to be desired here. One, some of Fiona's arts are a bit rushed or drawn so simplistic, most probably due to her tremendous tasking responsibilities. But her sequential paneling command compensates these shortcomings. Two, her inking is visibly inconsistent in some panels, particularly the long angular perspectives to be paradoxically consistent with her minimalist artistic approach. Yet to casual readers, this one is hardly noticeable. Three, the graphic imageries are aplenty here, may cause some narrow-minded readers to cry nonsense critical rhetoric. But those "violent" and "mature" moments are integral components of the story, not just for shock value rubbish. And on the personal level, I miss Ghs! Nonetheless, Saga #31 starts nicely, having Hazel on board in full. And to give a proper sendoff here, I have to quote Alan Moore here whenever he finishes his appraisals, "HIGHLY RECOMMENDED!"

In conclusion, Saga #32 deals with some of the fates of the major characters who are understandably absent previously. The core of this chapter centers basically on the abovementioned couple who are relentless in finding their unica hija. Themes of redemption, hope, and love are expertly explored and aesthetically done with gravitas in the hands of the wordsmith extraordinaire Brian and the artistic greatness of the amazing Fiona. Whatever its flaws here, there are judged as mere asterisks for the overall quality is obviously excellent. I can't wait for the next chapter that deals with our beloved gay news investigators.

Secret Wars #3 is basically an excellent chapter to begin with. From Ross's cover art, Hickman's mixture of serious and touching dialogues and his brand of non-linear sequential storytelling, up to Ribic's anatomically balanced illustrations (plus Svorcina's light coloring techniques), this is a well executed and engaging read. To wit, EXCELSIOR!

Naturally, what is a Hickman without being high-scientific? In reading the conversations between Doom and Valerie, Hickman treats us a Stephen-Hawking level discussion of research and scientific writing that may turn off average types (well, Hickman is an intellectual-level dude to begin with, so we must get over that fact already). And, the perennial complaints of Ribic's Achilles heels"LIPS. Doom's helmet, especially the mouth part, is so irritatingly funny and cartoonish to begin with. If that's the case, what more on other characters' close-up faces?Regardless, Secret Wars #4 is the start of the action we patiently wait and being rewarded. This is a highly accessible but more focused and straightforward yet. Secret Wars has yet to disappoint us, and hopefully, this kind of consistency carries on until the very bitter end as speculated.

Nevertheless, Secret Wars #6 maintains and retains strongly in the narrative and illustrative compartments, shifting the higher gears towards the inevitable as some recent new Marvel titles may suggest. Some questions are answered and the plot thickens more as well. With the true war looming in the next chapter, I am already confident that this mega comic event will proceed as brilliantly as it should be!

More sadly that Esad Ribic's illustrations in this latest issue present some rather lackluster or even awkwardness, if not the sense of being rushed in many of the panels and its overall paneling quality of the comic's interiors. Ribic did however retain the consistency of the paneling sequences and the proper angular perspectives in the moments of chaos, upheavals, rebellions and the war itself. Yet, many of his facial portrayals were deemed too hilariously to view, if not outrageously portrayed, particularly the "shocking" and "gaping" scenes. To add further insult to injury, his perennial anatomical Achilles, the "duck faces" and his characters' mouths, were virtually unbearable to watch, if so laughable to nitpick these just the same.

Yet, Secret Wars #8 returns the excellence of both Hickman and Ribic's respective narrative and artistic games to ensure the (hopefully) majestic battle royale between the company's intellectual rivals, and the finale of the writer's tenure as one of Marvel's architects and the event as well. It is hard to swallow indeed that there are already spoilers around in the new ongoing titles primarily due to the event's sluggishness and/or accommodations to fulfill the writer's true vision; but this penultimate chapter somehow returns some shreds of optimism that the final Secret Wars chapter is as, say, epic as it must be"the End of the "Old" Marvel continuum. Let's wait until January next year (sigh)".

Secret Wars #9 fulfills its objective of tying many loose ends, and finishes another great run of meta-narrator Jonathan Hickman, particularly his tenure in Marvel (he will focus more on his creator-owned titles, especially East of West). Questions are answered. Issues are settled. But most importantly, this maxi-series paves way to the justification yet again of renumbering and/or rebooting the entire Marvel universe.

Southern Bastards #11 delivers significantly and proves that the two Jason's are capable of presenting a highly complicated character despite the obvious religious exteriorities. It is true that religion can indeed influence one's direction, but sometimes, it clashes with harsh realities of life, as this chapter illuminates clearly. If the last page is the indicator, then readers can be assured that Deacon Boone is the force to be reckoned with.

Star Wars #16 presents another amazing collaborative effort by Jason Aaron, Leinil Yu, Gerry Alanguilan, and colorist Sonny Gho on how to make a good first chapter even though the plot is nothing groundbreaking.

Darth Vader: Annual #1 is an excellent chapter for both Star Wars fans and newcomers alike. In the presentation of the Sith Lord and Empire's greatest enforcer at the height of his powers, Gillen's Shakespearean eloquence gives credence to the character's resurgence as one of the greatest and most feared dark lords ever, from the height of the Empire's reach to the would-be rebellious counterparts. The Force is indeed in great hands with Gillen.

Starve #1 proves once again that comics are truly gearing to more mature and daring direction that independent comic publishers like Image Comics and others unleash. It also presents the direct and confrontational approach for creators like Wood and others to show the readers the present day problems that need serious actions/remedies from the central powers and the society itself through the usual template of science-fiction: critiquing the present by showing the possible future. It even illuminates the power of the comic medium of highlighting FOOD as the paragon of social, economic, political and cultural dysfunctional and eventual malfunctioned indicator if the ruling classes and the cultural elites never ever learn the mistakes of the past. Wood et al give us already the hors d'oeuvre but Starve #1 reads like the main course alright. Are they going to treat us some tasteless desserts in succeeding chapters? I hope Wood et al provide us more to starve on" EAT THIS!

Starve #6 kicks-off a good opening of the new story arc. I love how this issue teaches something in treating the soon-to-be-eaten species with dignity by illustrating clearly that kind of culinary method of snuffing out its life. And, the cliffhanger is basically a great transitional way of getting readers and fans more invested in reading this dark, riveting and contrast critique that is still full of relevance in reminding ourselves what we are dealing with, and the juiciness of the food we are definitely eating. Brian Wood continues his social activism and awareness by reminding the readers that there is still hope of changing the current status quo in the guise of culinary reality television. The art department led by Zezelj remains highly consistent in its respective responsibilities. I can't barely wait how this storyline will go to out for this prima donna chef.

Strange Fruit #2 continues the collaborative artistic excellence of J.G. Jones and Mark Waid about the impending natural disaster in the Mississippi region sometime in the 1920s. Their fusion of excellent artistry and narrative is omnipresent from the cover up to the final page, despite the delay of publication and release. It sheds some connectivity of the main character's past to the collective experiences of the oppressed minorities; henceforth, the perfect trajectory launch pad for the penultimate chapter. Strange Fruit is graphic history (of sorts), rolled with spices of superhero and critical commentaries, in its finest form so far!

Thus, The Fade Out #9 begins the end of the great independent series. It exceeds expectations in both the writing and artistic executions, further enhancing the already intelligent and thought-provoking tale.

Regardless, The Fade Out #12 fulfills Brubaker and Phillips' promise of tying many loose-ends of this exciting and intelligent tale of murder, betrayal, showbiz business, love, and history. The ending may or may not satisfy some of the readers out there, but that is what the creative team wants us to understand after said and done, not everything ends with a sunset victory. Reading Brubaker's works is like learning something more important than what we mostly learn from schools " real life is not a walk in the park. GREAT READ!

For obvious reasons, THE GODDAMNED is rightfully deserved a "MATURE" rating. Sensitive and politically correct types are advised to skip this one unless they want to either stoke or incinerate this potentially controversial piece of visual literature. In other words, consider yourselves warned. Nonetheless, THE GODDAMNED #1 is a great start of the creative team's vision of the possibility in the most intense and gritty way possible (or exceeding our expectations). It's time to rethink how we see things previously, and this long awaited artistic collaborative reunion gives us something to review what we should have done before, both intellectually and spiritually.

Of course, some issues I raised in the first issue, like being sacrilegious and iconoclastic, can carry over to this chapter as well. Regardless, The Goddamned #2 reads brutally and uneasily well, most especially to the fates of these pre-destined/predetermined casts who are now on the apocalyptic collision sooner or later.

OH MY GOODNESS!!! Grant Morrison did the impossible feat once again! In Multiversity: The Guidebook #1, he literally put this reader off-balanced on another thought-provoking issue of methodologically precise off-putting meta-narrative way of storytelling to stir his readers to complete amazement (or infuriation, if you really love-to-hate-to-love the Rock God of Comics).

Even so, this is an excellent way of approaching a climatic finale. Many "second-to-the-last" issues either deliver the necessary steps of grabbing the readers to their throats to read the ultimate chapter or fail to sustain the momentum by making it predictable and a frustrating read. The Multiversity: Ultra Comics #1 does the first criteria and Grant Morrison et al certainly hooks us towards the climatic exclamation mark in the ending next month.

The Sandman: Overture #6 is one of the best finales for this year! Neil Gaiman, J. H. Williams III, Dave Stewart and the rest of the artistic team deliver their respective best literary and illustrative deliveries yet, if not ever. It illuminates the triumphs and tragedies of the characters involved, the Dream Lord included; and it gives the fantastic yet rational justifications that lead to the first volume of The Sandman saga. Neil Gaiman grants the DREAMS of the readers, fulfills the DESIRES of fans around, and already attains the DESTINY he already possessed. Only DELIRIUM, DESTRUCTION and DEATH can stop the DREAM, if they can so".

Regardless, The Walking Dead #150 is what a special/commemorative/anniversary issue should be: engaging, interesting, page-turner, and masterfully crafted. It is true that this one is tamed by comparisons to other commemorative issues, say issues #100 or #125, but the storytelling writing of Robert and the clean and minimalist illustrations of Charlie simply dominate this time around. Seriously, I can't wait what the creative team has in store for the next arc.

Finally, Tokyo Ghost #1 serves as the hors' deouvre of the futuristic consequences of internet addiction and the brand of science fiction genre the creative team wants to scrutinize. World-building and character introductions are in-placed. Remender's writings provided clues and potential scenarios for future issues to come, while both Murphy and Hollingsworth's artistic executions delivered unequivocally to bring forth the necessary drives to make this issue worth reading and appreciating. Tokyo Ghost is truly a love-letter of cyber punk and the fusion of Mad Max and Judge Dredd!

Vampirella #1 serves a nice jumping point for new readers and experienced comic book enthusiasts. It offers new story, new creative team, and Vampy's new outfit. Perhaps as the story progresses, sophistication in storytelling would emerge on how the plot revolves. But Eman Casallos' art is generally the strongest point here.

Yes, this chapter has a number of violent scenes like head bashing/smashing, with some visual imageries that are quite acceptable in Japan, but not in some conservative societies, if you can get that kind of cultural reference. Yet, this one kicks start decently to illuminate why the youngsters should first learn the meanings of patience, maturity, self-control, respect, and to some degree, lessons of the past.

We Stand On Guard #1 is a promising and worthy start of a great comic series. Potential twists and turns and intriguing stories are already in-placed for readers to get invested for months, no, years to come. Moreover, Skroce is the primary artist and we can expect more on his one of the kind illustrations beyond the first issue. And, this is an uneasy read for sensitive types, but a bold step to thought-provoking reading experience nonetheless.

If the creative team of WE STAND ON GUARD continues its excellent run of great storytelling about the on-going imperialist pursuits of the Americans, then it is already a foregone conclusion that this series will become the 21st century greatest, if not one of the best, underdog story in the graphic visual literature yet! Vaughan's consistent good storytelling and Skroce's magnificent drawings will surely become a memorable treat for readers of great visual tales, and they form another formidable tandem furthermore thecollaboration with Fiona Staples of the Saga series. WE STAND ON GUARD is THE MUST for those cravers of freedom, resilience, and the Rocky-types as well.

Nevertheless, We Stand On Guard #3 delivers as what the creative team promised. Torture is indeed barbaric, but war shows the best and worst human traits ever. Brian knows this and unafraid to remind readers this terrible fact of life. However, humans never learn after all from their mistakes, and thus continuing repeating these over and over. Next issue promises Skroce's best illustrations yet, and hopefully, we invested readers/fans will be delighted on that one.

Naturally, I still find fault on the non-existing English translations of the Quebec-French dialogues uttered by LePage, though slowly and surely, I could comprehend the character's words. But the rest of the issue is one of the best yet. And finally, this fourth chapter illuminates the growing discords from within the imperialist's backyard while primarily highlighting Skroce's greatest artworks so far (and hopefully up to the next issues). It can be argued that this chapter showcases Skroce's re-emergence as one of the comic industry's top artists right now. Of course, Vaughan's scripts and some one-liners dialogues complement so well to the artist's magnificent illustrations. Once again, GO CANADA!!!!

But nonetheless, We Stand On Guard #5 is one of the best penultimate chapters this year. Brian and Steve never rest their respective artistic laurels and maintain the kind of artistic integrity and professionalism they are truly known for. The finale is fast approaching, and the teaser and the cover art are the encapsulations of what is the true power of hope and determination possess. In short, GO CANADA!!!

Anyways, We Stand On Guard #6 finishes almost perfectly a brutally harrowing but resilient story of the underdogs who literally and figuratively "STAND ON GUARD" when almost everything is stacked against their backs, similar to the wounded wolverine whose life is on the line and never looks back whatever the odds against this small but powerful symbol of the northern hemisphere. This one is a true winner! GO CANADA!!!

In conclusion, Witchblade #185 "officially" finishes the twenty-year run of Sara Pezzini as the reluctant wielder of the titular independent supernatural-noir, female-driven superpower-series. It can be served paradoxically as a starting point for new readers around for it retells what transpired for the past twenty years though the storytelling and illustrations departments barely make out on the levelness of great overall executions, plus some of the former artists and scribes are reasonably absent that might can flavor or add dynamism on Sara's last days as the supernatural wielder.