For the full blow-by-blow review (including some actually good highlight moments), check out our video review below.

At $9.99, it's not a terrible price, given the 100 pages of content and the prestige format binding. However, the price point discourages all but the most ardent collectors from acquiring all of the variant covers.

As mentioned previously, this issue also includes pinups of the character, and each of them is a masterpiece from artists like Kelley Jones (whose style is a perfect match for the world as seen by The Joker) & Michelle Madsen, Stjepan Sejic, Ivan Reis & Marcelo Maiolo, Tim Sale & Brennan Wagner, Fiona Staples, and John Romita Jr, Danny Miki & Peter Steigerwald.

I take comfort in the age-old aphorism: This too shall pass.

Despite the lackluster story, there's at least inking of Danny Miki and the colors of Brad Anderson to elevate the book. They save the artwork from the half-finished sketch level quality that John Romita, Jr. has been phoning in on this series for way too long.

This is more than just a zombie story. There's a depth of characterization here not seen outside of the standard Archie fare. While the Life with Archie series, which follows two alternative future paths split by the decision of Archie to marry either Veronica or Betty, is certainly more adult in nature, I haven't seen a version of the high school Archie gang yet where Veronica and Betty engage in risque repartee while arguing over who will be Archie's date to the dance. Add to this Reggie Mantle's role in events, a whole new visual look to the Archie characters (aside from being zombified, that is), and just the fully-realized emotional expressions of each character, and Afterlife with Archie immediately rockets to not just the top of my Archie reading list, but it's the first time that an Archie book has broached my personal Top Five must-read titles of all publications. I have to give this my highest recommendation.

If you're any kind of a zombie fan at all, and you haven't picked up AFTERLIFE WITH ARCHIE, you're missing not just the best zombie title currently on the market, but one of the best horror comics being presently published. AFTERLIFE WITH ARCHIE is Archie Comics' "Vertigo Moment," and you want to be there for it.

Francesco Francavilla's artwork hasn't lost a thing during the last nightmarish publishing hiatus. If anything, his style has improved, as he continues to deliver a vision of the Archie universe that has never been imagined before. It's an unsettling look at terrors that are both obvious and subtle, physical in the present, psychological in the past, and occultist overall.

So while there's a chamber inside me where Charles Dodgson's words echo that Alice "seems changed a good deal, and not for the better," another part of me is fascinated with where this story is heading, and what role Wonderland will continue to play in it. It certainly helps that Giorgio Spalletta and Fabiana Mascolo have rendered this new Alice adventure exquisitely and with loving detail in every panel. I'm certainly hooked, even if somewhat morbidly so, and will definitely come along for the ride into the next issue. You should too.

ALL-STAR BATMAN is a less obnoxious Batman as was the character in the the similary titled ALL-STAR BATMAN AND ROBIN, so if you're expecting more of the G.D. Batman, that's not what this series is about.

I love old school Archie. I even love old school Little Archie. But with this Halloween special, I feel I got more trick, and not nearly enough treat.

Featuring a plethora of covers to choose from, ARCHIE MEETS BATMAN '66 is a must-see for the kitsch factor alone. I reserve some quibbles about it -- I haven't read enough BATMAN '66 to know if Poison Ivy is supposed to be a southern belle in this bat-verse, but it was a surprising departure from her usual femme fatale aspect (which Catwoman has cornered in this franchise). Overall, it's recommended, and one I'll continue checking into as the series progresses.

I love the concept of this crossover, but there are simply so many characters to write that it's difficult for Jeff Parker and Michael Moreci to give any of the characters any justice. Archie and the gang have been relagated to the role of, at worst, victims, and at best, observers. I'm hoping at some point soon Archie becomes a little bit more the good-hearted hero I grew up with. And maybe that will still happen. In fact, I'd be giddy if things required the presense of Pureheart the Powerful and Super Teen (although no doubt in costume only). I've hung with it this long, so I'll finish the ride, but please, let's get something happening for the Riverdale side of the story.

ARCHIE 1941 is definitely one we'll be following a bit further to see where it's going.

Peter Krause does a top-notch job of rendering the characters and the town of Riverdale in a way that evokes the era in all aspects, bringing Waid & Augustyn's story to a vivid yet somber life. While the first issue of this series had its issues, it looks to me like this second issue has course-corrected -- at least enough for this reviewer to give the rest of this 5-issue series a look-see.

Wise men say to rush in and get this one from your local comics shop, fool!

Writer Jos and artist M.Diaz deliver a lighthearted tale of sword and... well, more swords (sorcery not yet having shown its sparkly head, if ever it will), in an adventure that will appeal to fans of David J. Pedersen's ANGST series and Terry Pratchett's DISCWORLD. The action keeps moving, the humor doesn't distract, and the artwork strikes just the right balance between cartoon and realism.

After reading these three stories, all I can hope for is that the new BATWOMAN television series sparks some interest in this issue on eBay, so I can flip it quick -- and flip it off, giving it the same F-you that Castellucci has given Batgirl fans the world over.

Kudos to Tom King and Jason Fabok. This issue couldn't have gotten more retro or more exciting if they had decided to intersperse the panels with images from a pirate comic.

BATMAN 22 is heavy on the drama but feels light on revelations. It also feels light, period. I was done reading and stil had half my bologna sandwich left to go, so I read it twice. I'm still intrigued enough to follow the story through to its conclusion, and I'm beginning to suspect that the smiley button is a red herring, and that we shouldn't expect any Doctor Manhattan appearances. After all, to Manhattan, time was immutable, and in this universe, time is editable.

King does an amazing job revealing a side of Batman we don't get to see that often -- the human, vulnerable side. David Finch's pencils deliver a level of detail that elevates this issue from being just another story into being an iconic moment in Batman history.

The story asks the question, "Bride or Burglar?" I think by the end of the tale, right down to the knowing wink from Alfred, that the answer is obvious: She is both.

How Tim King and company plan to fix this is anybody's guess -- but then, he didn't win our Best Comics Writer of 2017 for nothing.Tony S. Daniel delivers a phenomenal cover, and the colors from Tomeu Morey give Daniel's artwork a depth I don't normally see in his past comics work.

With lush artwork from Miken Janin, given depth and vibrancy by June Chung's colors, BATMAN #48 is a must-purchase book this week.

Throw in the newer, more active role of Lucius Fox in Batman's life, some cutting-edge tech added to the arsenal, and the looming threat of The Joker, and you have the opening salvo of a Batman story that is going to have fans excited for Wednesdays again!

James Tynion IV's sprawling epic, "Their Dark Designs," carries with it echoes of the classic "Hush" storyline, aided by some stunning artwork from Guillem March. It's the kind of story that touches every character in Batman's world, and every rogue in his gallery of villains.

Overall, though, this is a good story -- or rather, a good chapter in a larger story (comics having long ago abandoned the idea of telling a single story in a single issue). "Their Dark Designs" has the benefit of an interesting plot device propelling it; let's see if Tynion can bring it over the finish line with the wheels still on the axles.

Will this be the end of the Joker story, as Harley plans for it to be? Will Joker be apprehended and put away yet again, only to take his war against Batman one notch higher the next time they meet? Or is there a third option Tynion has planned for the 100th issue that wraps up "The Joker War?" We don't have long to wait to find out.

Tynion's stories are the highlights of this run, understandable as he is the architect of the Joker War arc. The rest of it is all setup for things yet to come, and they just don't have me excited.

Dynamite's been doing a...well, quite frankly, dynamite job with the pulp heroes and the public domain supers, and it's great for the fans that they've been willing to share their sandbox with DC Comics, as they've done with their recent crossover with Wonder Woman '77and The Bionic Woman. (JSA / PROJECT SUPERPOWERS anybody? C'mon, it's low hanging fruit!) Putting Scott Snyder and Steve Orlando together to chronicle this meeting of the masterminds is a natural pairing, and Riley Rossmo's art has just the darkness and deco feel to it to blend the two worlds together.

I do like the idea of the Joker being reintroduced into the Batman Beyond universe, but I'm hoping that Dan Jurgens has more tricks up his sleeve than just homicidal nostalgia.

Convoluted narration, Zatanna (presumably) as a street performer, homeless people speaking in mispelled homophones ("...with my own TOO eyes!" How does that even equate to a different phonetic emphasis?) all combine to make BATMAN: DAMNED a hot mess of a story written by Brian Azzarello,jumbled up among beautiful pictures rendered by Lee Bermejo.

While the motivations of this Batman may be shallow, and we don't know what happened in the intervening years from his parents' death to the current time of the story where he's an adult, Sam Humphries does a fantastic job of building the horror and showing just how ruthless and powerful this particular Batman is. Pulled to our Earth, his immediate confrontation with Hal Jordan makes that even more clear, calling for the emergency intervention of Dr. Fate (who's been pulling all the heroes' fat from the fire at the end of each of these one-shots). The pencil lines of Ethan Van Sciver are so tight their damn near hemmorhoidal (okay, that's really supposed to be a compliment) and when paired with Jason Wright's colors make this issue wall-to-wall eye candy.

Joshua Williamson hooked me from the first panel, and the story and action kept me breathlessthrough right to the end of the book. The artwork from Carmine Di Giandomenico, on the other hand, was an uneven mess. In some panels it was fantastic, in others it was purely sketchy, and in yet others it was completely derivative of other books (you can even detect the stylistic changes carried across in the swipes). That's whatkeeps me from rating this book a full 5 out of 5.And yet, with all that, I loved reading this book, which owes almost entirely to Williamson's storytelling process and the overarching idea of the series. I'm definitely going to be checking out the rest of METAL from here on in.

It's beautifully drawn by Jason Fabok, and uniquely and cleverly crafted by Geoff Johns. But I feel like it could have meant more than it does, which is more in the hands of DC Comics editorial than on the creators.

If you haven't dabbled in the Zenescope titles before, this is the perfect opportunity to wade in and test the waters. You'll find them warm and inviting, and possibly tempting you into the deeper end of the GFT pool.

With only six issues planned for the series, it's tempting to wait for the trade paperback. I suppose if you're into self denial and delayed gratification, that's okay. For those who can't wait to dig further into Belle's debut adventure, hit up your local comics shop this February 21 for your copy.

Ultimately, "Hautning in Hollywood" reveals that Bettie was supposed to be the only guest at this "party" where the monsters seem more real than special effects could create. Or are they? The twist ending has a twist all its own, making this backup from Leah Williams and Fernando Ruiz a fun comic short.

BETTIE PAGE #1 is pure fun and fantasy from cover to cover, with a fast-paced story that doesn't waste a single panel. It's the kind of book that all comics should aspire to be.

This is not the gutsy, daring, take charge Bettie to which we have become accustomed.

Don't miss this one, as Bettie takes over the Dynamite catalog!

BETTIE PAGE UNBOUND #2 of course ends with Bettie crossing into yet another Dynamite property, pretty much guaranteeing that readers will come back to see how she handles this new incarnation and environment. While it's not a crossover, per se, there's a certain charm in seeing Bettie Page taking on the role of the many female hero properties licensed to Dynamite. It's definitely enough to bring this reader comign back for more as Avallone and Ohta deliver a unique Crisis on Infinite Betties story.

BETTIE PAGE UNBOUND continues to be the definition of comic book fun, and one can only hope that after next issue -- the last of this series -- writer David Avallone has something else on the Dynamite editorial desks waiting for approval. X FILES with a noirish twist, the continuing adventures of BETTIE PAGE are one of our most recommended titles currently at your local comics shop.

We cast our vote for this book. In fact, we'll cast it a second time by mail, just to be sure.

What follows is a walk in the woods like no other, as we learn the origin of the glyphs, get an alternate view of the battle that began the world, and the subtle transformation of Regina from woman to something more than human. It's a sexy, groovetastic tale, fraught with the tension of a slow-burn horror that completely draws the reader into its world to the point that nothing will pull them out until the last page. Written by Ted Sikora and drawn by Butch Mapa, Bloom is the kind of bronze-age comic that will appeal to fans of Bernie Wrightson and Frank Frazetta. The Kickstarter campaign also includes cover variants from Bong Dazo, Benito Gallego, and Donny Hadiwidjaja, as well as a photo cover featuring cosplay model and Heroineburgh actress Alicia Lynn.

This latest issue from creators Jim Ousley and Ben Sawyer, PLANET OF THE DEAD, finds her and her crew being sought out by the Interdimensional Task Force for an assignment she is uniquely qualified for. The existence of multiple dimensions has been recently discovered, and one of those alternate Earths is looking to make colonization inroads to Syd's Earth.

Heavy handed? A little bit. There's some nice dialogue, however, and it's pretty to look at in places. We're already putting bets down on how the 'shipping is going to go.

The story is basic and the art is distracting. What sells this book is the nostalgia and the crossover concept. And it's a great concept to explore, given that back in the day we didn't get television show crossovers like the CW offers up annually now. It's an idea that deserved much better than it got.

This artwork from Joe Eisma is akin to what one might expect from a coloring book of CHARLIE'S ANGELS: THE ANIMATED SERIES. I've actually seen RICHIE RICH comics with more lifelike expressons. These Angels are sharp-edged, angular mannekins.

Hans Rodionoff and J.G. Miranda have the challenging task of making these less-than-threatening actions into a web of deception and secret world-domination. It's hard to convince people of a wide-ranging conspiracy when you have such bland elements to work with to prove its existence. The artwork is more than passable, but the dialogue could use a lot of work to make it sound more natural.

While I'm not a super hug fan of McKeown's art in this book (being a tad too angular and cartoonish), the backup story more than makes up for it, as Schmidt teams up with Bryan Hitch to provide the origin story of the boy from Krypton, and how his powers were taken advantage of by the Kents, who treated him like their own personal super-powered Cinderella. One hopes that each issue will have similar backups, giving the foundational structure of each of the main characters.

Other than a scene of, maybe, demonic possession, there is little to indicate there is any supernatural activity in CRUCIFIED. But there's enough political and social intrigue to merit a revisitation to this series when the second issue hits the stands.

I can't even pretend to understand everything that's been going on, which is probably to be expected. Yeah, Scott Snyder's writing it, but growing a tree out of a nut left behind by Grant Morrison is destined to be fraught with a mind bending case of the "Huh?"s. It's like that giant spinner thing at the carnival -- it's makes you dizzy but it's still a hell of a ride.

It's been an interesting start, and I always love the idea of introducing new levels to the DC Multiverse. But I'm jumping off this train now, and hitching my wagon to the upcoming DOOMSDAY CLOCK series starting next month, with higher hopes.

It's all a bit simplistic, and I'm sure the actual ending is going to be different from the McGuffin we're initially shown (the world of off-panel actions being one of infinite possibilities). If you're jonesing for a long-standing Dawn fix, then you'll want to pick this up. If you're more of a Vampirella fan, she's a bit off-character and shoehorned into the plot for obvious marketability.

It's not a bad story overall -- the X-Men and the mutant struggle was always a tale about the fight for equal rights and acceptance, and this continues in that tradition. But it wasn't a "wow" moment, either. Not something I'd expect out of a one-shot issue but rather from a backup short.

The DC / Hanna-Barbera crossovers have always been hit or miss, but even when they miss they're still fun to see the modern reinterpretations. SUPER SONS / DYNOMUTT AND THE BLUE FALCON is not a miss. It's a bonafide hit!

Scott Lobdell and Brett Booth do a fine job at bringing Speed Buggy and his crew into the DC Universe while remaining true to the spirit of the character.

So why am I smiling like that 5 year old kid who used to get Curt Swan and Murphy Anderson SUPERMAN comics from the barber shop? Because, like that mysterious person in REBIRTH, I've seen the future. And everything is going to be all right.

Tom Tayler takes the idea and runs with it, delivering a bang-up superhorror story with all the tragic consequences that entails.

Tom Taylor has spun a colorul, fanciful, and fun-filled armageddon, with Laura Braga and Darick Robertson illuminating the manuscript in a fashion that makes the end of the world a beautiful sight.

DCEASED: UNKILLABLES is a fun amble through desolation with the assembled baddest of the bad, just trying to stay alive -- a sort of Walking Dead with tights.

"A Lonely Place of Living" (a throwback to that earlier mentioned origin story) is exposition heavy -- an info-dump -- which gets wearisome even though Tynion provides a clever explanation for why Tim's being so chatty at the turning point of the narrative. The artwork is uneven, going from exquisite to sloppy in places with awkward expressions and stances, something that, upon examination, I can't lay at the feet of Eddy Barrows' pencils but rather at Eber Ferreira's heavy handed inking.

James Robinson's writing career has been one of hit and miss for me, with the high poing being his run on JSA and his lowest being on JUSTICE LEAGUE AMERICA. Using that as the scale, DETECTIVE 988 falls somewhere in a comfortable middle.

It's a grand scale mystery from master scribe Peter J. Tomasi, with art by Kyle Hotz, whose style is somewhere on a scale between Sam Keith and Kelley Jones. There are no crossover events intruding on this issue, and no lengthy backstory leading up to it. Yes, it's the first of at least two parts, but it's classic Batman storytelling, the kind sorely needed in the market these days with DC's flagship character.

Unfortunately, the story itself is falling flat for me on this one, which is a shame because the concept has a lot of great potential.

So as a standalone story, "Attack on Wayne Enterprises" is a block of excitement from first page to last, with some stunningly good artwork from Kenneth Rocafort. It's not a necessary chapter of Joker War, but it's a satisfying one.

As has been the case with all these prestige-bound issues, DETECTIVE COMICS #1027 features a boatload of variant covers to choose from, and is littered with some fantastic pinups from the likes of Jamal Campbell, Lee Bermejo, and even the legendary Jose Luis Garcia Lopez (who should be doing a lot more DC work, in our humble opinion).

Declan Shalvey and Fred Van Lente team up to draw together some of Dynamite's best and brightest characters to fight a universal threat that will take all their prowess -- if it doesn't take their lives first. The art by Vincenzo Carratu and Juston Mason, with Kike J. Diaz's colors, is not very detailed in some scenes, but then turns intensely detailed in others -- and always serviceable throughout. But it's that main cover by Lucio Parrillo that is going to have this undead thriller leaping off the shelves and into readers' hands -- and it ought to leap into yours, too.

DIE! NAMITE is a heckuva yarn from Fred Van Lente and Declan Shalvey, with nice, dynamic artwork from Vincenzo Carratu and Pasquale Qualano. If you're a zombie invasion fan -- and even if you're not -- you should pick this one up and give it a shot... to the head.

DIE!NAMITE #3 is guaranteed to leave you breathless, as these characters come together in a way unlike they ever have before.

I'd have liked to have had a bit more plot advancement in this initial chapter before dropping us off at the cliffhanger ending, but I'll admit that I'm eager to return back for the next issue.

Titan Comics' debut of the Twelfth Doctor is sure to make a splash with Doctor Who fans, and this reviewer eagerly awaits the next chapter of this story.

When these events actually occur in conjunction with the timeline of the DC universe is not clear. Obviously there's a 25 year gap between the two. It's possible that Veidt and his team have been operating in the DC universe for that long undercover. We still don't know how the yellow smiley button of The Comedian got embedded in the walls of the Batcave, something it would seem only Doctor Manhattan could have done. But I'm sure we'll have more answers, and a ton more questions, next month when the second issue comes out.

I want to trust Geoff Johns, who has seldom ever gone astray when taking on a big DC Universe project, but I'm going to need something in issue three to solidly anchor this series to standard DCU before I can invest any more of my interest.

Some of these events are things that have been dangling out there since May 2016 without resolution. At some point, you have to wonder when the foreplay is going to end and some actual gratification take place, some payoff for our months of investment. And just to draw out the tease, DC has announced that DOOMSDAY CLOCK is going to enter a bi-monthly schedule, apparently trying to mirror WATCHMEN so closely that I suspect there will be a six-month publication gap between issues 11 and 12.

The cover for the issue says it all " if you can't take joy in an armor-clad Batman, Superman and Wonder Woman riding a Joker-faced dragon, this is not the book for you. For many of us, Dark Nights: Metal was the prog-rock epic turned comic we never knew we'd wanted and this final chapter proves the perfect rocking finale!

We're halfway through the series, and while we're nowhere near close to confronting Doctor Manhattan, we are definitely seeing references to other outside story elements illuminating the entropic path the DCU has set itself upon. There are references to Sanctuary, and potentially to events that spin out of HEROES IN CRISIS.

Having crossed the halfway point of this 12-issue crossover between the DC Universe and the world of the WATCHMEN, we finally get to a place where we get answers.

DOOMSDAY CLOCK should have been something. But too many competing events, with no impact on the DC Universe in general, isn't so much a slam on the book as it is on DC Comics' editorial, who don't seem to be exercising any control.

As he has done with his incomparable work on the various Bettie Page arcs, writer David Avallone has expertly captured the cadence and intonation of the real life characters he inserts into his stories, to the degree that one cannot help but hear the inimitible inflections of Vincent Price with every word balloon the character utters. Juan Samu's artwork captures facial expressions adeptly, although the characters frequently look a bit "Mad Magazine" cartoonish, particularly in contrast to the images of Vincent, but not enough to distract from the story. And while this first chapter is by-and-large an amusing and engaging (but nonetheless) setup for the action to come, this reader can't help but wonder why nobody has taken the initiative to license Vincent Price's image to be the host of his own comic book anthology of the macabre. It would seem to be, as they say, a 'no-brainer.'

Borrowing from such popular SF tropes mined from DUNE to BATTLESTAR GALACTICA, ENGINEWARD has potential to be a worthwhile saga, but it's going to take a few more issues to make that declaration.

At least the art by Alex Maleev is appropriately moody both in pencils and coloration. But that's not worth our $3.99 per issue if the story is completely lacking the hooks needed to make the reader invest in the premise.

If you can get your hands on this, do so. You won't be disappointed.

Doing a fairly good job of mixing humans and talking animals in an artistic realism perspective, I can't fault Mike Feehan and Sean Parsons for their work. It's quite interesting seeing their adaptations of the cartoon animals into these new forms, and I'd appreciate seeing more of the interactions in this world -- if it wasn't for the fact that this world, as developed by writer Mark Russell, is populated either with gays or gay-bashers, with nothing visible in the way of moderation. It's a dichotomy of ideals I could live without. Fortunately, this is a comic book, so I can do just that.

Overall, all three stories show why FAITH has been finding her way into people's subscription lists.

While Dan Slott is definitely bringing his A-game to this title, Sara Pichelli really blew me away with her renditions of the characters. I was especially impressed with her interpretation of The Thing, and how she was able to evoke subtle expression from a face made of rock.

FLASH #21 is a continuation -- and a departure -- from the story that began in BATMAN #21. Geoff Johns and Tom King are still driving, but even when multiple writers (and artists) are on the same page, you can sense the shift. Where BATMAN #21 opened "The Button" in a fashion that was very WATCHMEN-like in its structure, FLASH #21 shows some glimpses of that at first but for the most part sticks to the basic format for telling a comics story. Which isn't to say that Joshua Williamson and Howard Porter told a bad story -- far from it. It's just to say that, the gears have shifted, and you can feel the shift.

FLASH 22 concludes "The Button," but it's a conclusion that brings with it little in the way of a conclusion.

If Grodd is truly needing to suck in the Speed Force for his own nefarious reasons, I'm hoping it results in a lot fewer speedsters. Part of what makes our superheroes interesting is their uniqueness. When the Earth was overrun with Kryptonians, Superman was boring. When the world is overrun with speedsters, The Flash is likewise. (The only one who gets a pass on this is Green Lantern because he's in an armed police force, rather than a metahuman.) Let's get Barry back to truly being "the fastest man alive" and have him face threats other than those from people who can run just as fast -- if not faster -- than he can.

Joshua Williamson has a good handle on what makes Wally West relatable to the readers -- his connectedness to people and how the lack of that would impact him deeply. The artwork from Howard Porter and Christian Duce is crisp and neat, with a lot of background detail to flesh out the story without getting in its way. All indications are that this is a pretty good jumping on point for the big FLASH story arc to come.

Venditti's going to have to whip out a time portal or a cryogenic chamber or an iceberg or something, I'm sure he'll pull off something credible, though, and with some incredible art from Barrows, I'm looking forward to the next eleven issues and, hopefully, beyond.

I plan to follow this one on a monthly basis. Don't wait for the collected trade, get it now.

With this issue, the art and story are firing on all cylinders, and the ride is only going to get more thrilling from here. If you haven't tuned in already, now would be a good time.

Like I said. These writers -- these writers who have written some of my absolute favorite books during my forty-seven years of reading comics...they know better.

Brent Peeples artwork with Morgan Hickman doing the colors is stunning, and really brings the reader into the stories. It will be interesting to see how Peeples brings together these disparate genre characters into a unified scene.

The art, however, is a completely different kettle of monkeys. Faces look squashed, figures look more sketched than drawn, and the colors wash out most of what details may have existed beneath them. The group shots should have been a collection of easily identifiable faces, but I could not recognize the majority of them until they actually announced themselves, and that simply shouldn't have been. Javier Fernandez has turned in better work than this. Perhaps he was going for a different feel with this being a funeral issue, but it didn't connect with this reader.

The mystery is a straightforward one that doesn't require you to have an encyclopedic knowledge of Green Hornet history or literary symbolism. The action doesn't take several issues and dinner discussions to finally get into gear -- it roars right off the starting line the way a hero comic is supposed to.

The ALICE IN WONDERLAND TENTH ANNIVERSARY ONE SHOT gets back to the roots of the series, with chilling horror delivered in exquisite beauty. That oxymoronic coupling makes this a welcome and compelling single-issue story that shouldn't be missed.

An intriguing hook and a welcome sanctuary for the male gaze make this more than just a pin-up book, and is a persistent reminder: It's good to be Grimm.

Written by Anne Toole with artwork by Butch Mapa, the GRIMM FAIRY TALES 2014 HOLIDAY EDITION once again shows how Zenescope can take an obscure myth and turn it into a compelling modern drama.

As a devotee of Wonderland since before Zenescope came into existence (Happy 10th Anniversary, Zenescopers!) I'll always be interested in new interpretations, Zenescope's included. I'm just hoping that the recent turn of events in the series haven't painted the new White Queen into a perpetual role of lifting madness and being manipulated.

While the market for modern horror shorts is still a yawning chasm in the graphic format, Grimm Tales of Terror is a welcome island of fright.

Overall, the story works but could have better set the reader up for surprises instead of giving all the hints up front. That's part of what made EC and other horror anthologies of the past so successful -- any hints were so subtle, if they were given at all, that they were only obvious upon re-reading. And that's what I'd love to see GRIMM TALES OF TERROR evolve into, and what I see it as having the ripe potential to become. Previous issues have achieved this, but this one just falls a little bit short in its delivery.

The remainder of the story is a labyrinthine exploration of the hidden halls and rooms of the Gemini Hotel, finding the many places this would-be H.H. Holmes had killed others.

Overall, the GRIMM TALES OF TERROR HALLOWEEN SPECIAL is still a nice read for those yearning for the gore and irony the comic book industry used to feed it horror-starved fans on a more regular basis. This one is on the shelves of your local comic shop now, so get your copy before the little trick-or-treaters beat you to them.

Give GRIMM TALES OF TERROR #9 a go this New Comic Book Day. It's just what the doctor ordered for a season that's a little too bright and cheery when we're still wanting the scares of Halloween.

It's unusual to have a uniquely Superman super-villain take the lead role in a multi-chapter story arc in another hero's title. It would be rather like seeing Superman match wits with The Riddler for four issues, or Wonder Woman take on Gorilla Grodd. Mind you, I'd pay good money for either of those stories, so "unusual" is a good thing, and with the diverse cosmology of the DC Universe, it even makes sense for the Green Lanterns to encounter rogue Kryptonians in deep space. And raise your hand if you're already wondering when Lor-Zod is going to go toe-to-toe with Jon Kent!

It's a fun thought experiment in graphic format, with some excellent art from co-creator Michael Montenat. But I'm not sure the idea is a powerful enough of an engine to push this story very far along.

If you want to see Harley Quinn, Poison Ivy, Betty and Veronica in action together, then go to your nearest convention, plop down about $100 to the artist of your choice, and commission a pinup.

Phillips has the patter down pat, but Rossmo's pencils may be a little too frenetic for my taste, at least for an in-universe series. The setup has potential, but it's potential we've seen ignited in the past, only to lose momentum. Perhaps this time might be the charm, or perhaps the character is simply better suited to being the bad girl. Only time -- and sales -- will tell.

I want to be mad about this -- I do -- as several DC fans were today when taking to Twitter to voice their dismay. But looking at the book objectively, in terms of plot and appearance, there is nothing here that can be nitpicked as bad comic storytelling. This is a truly engrossing first chapter, and I'll be coming back for more. I doubt I'll be alone.

The artwork is absolutely outstanding. I'm a bit concerned that Clay Mann got an assist from Travis Moore on three pages; I hope that's not indicative of scheduling problems with the workload. I'm definitely into this series for the long haul, but I think the real questions raised about Sanctuary will end up going forever unanswered: Why it was thought to be a good idea in the first place?

The issue ends with another nine panels of heroes giving their confessions. This is the first we're seeing of them, so we don't know if they are among the dead or just former patients whose confessions contributed to the breakdown of the AI. It was, however, interesting to see Protector, who I don't believe has been seen in the DC Universe since his appearance in the 1980 NEW TEEN TITANS drug awareness comic book that was sponsored by Keebler and others.

There's a concept here. A story to be told. So please, we're begging you: Tell it.

Batgirl lying to Batman (unconvincingly) and getting away with it.Booster Gold getting the drop on The Flash.Superman giving a longer speech than the one that got cut from SUPERMAN IV.Here, take a look for yourselves:

Overall, Zenescope's HOLLYWOOD ZOMBIE APOCALYPSE has only one disappointing factor to it -- the fact that it's a limited series of two issues. This is a zombie-infested world in which I wouldn't mind spending a little more time.

The pacing is slow -- it's a half-hour show being spread across at least two (perhaps more) comic books. However, the feel is spot-on, owing to the use of the original teleplay's dialogue and the beautiful panel work of Kostas Pantoulas. If you're a fan of the original series, you need to get out to your local comics shop and pick up a copy or three of IRWIN ALLEN'S LOST IN SPACE: THE LOST ADVENTURES #1 from American Gothic Press.

If you're a fan of the spy franchise, this first issue is a great jumping-on point, and stays true to all the major beats of any James Bond adventure. Put this one on your pull list and hold on for one hell of a ride!

Snyder also provides glimpses into the past, present and future -- not just on the opening page, but deeper in as well, leaving fans to wonder about the fate of Adam Strange (who, with KRYPTON being the Syfy hit that it is, makes him a prime candidate to bring back into regular rotation), the power of the Joker, and the cosmic entities bearing down on the Multiverse. It's great action -- but it's greater inter-action that makes JUSTICE LEAGUE #1 a true gem!

...well, remember that downfall I said was telegraphed for John Stewart? Yeah, that happens. Looks like we're going to need more Lantern rings on the store shelves.

The "Legion of Doom" storyline is a jigsaw puzzle that we watch James Tynion IV and Mikel Janin assemble, a spectator sport where we try to guess the final picture before all the pieces are in place. Fortunately, the picture so far is intriguing, and the puzzlers are putting it together with enough panache to keep us watching.

Overall, we're giving this book a recommend. It's been too long that a comic tells a story all at once, and also be a book that any age reader can pick up and enjoy.

I get it if you want to produce a team of villains trying to make good despite their pasts. That's an admirable project (even if THUNDERBOLTS already did it). I'd buy that book. Maybe market it as "Community Service" or "Doom Paroled" or even something clever. But don't market it as the Justice League.

Great writing and some eye-pleasing art from Tony S. Daniel make JUSTICE LEAGUE VS SUICIDE SQUAD a must-follow story.

Williamson continues to deliver a fast-paced action story that still finds moments for character development and relationship revelations. Fernando Pasarin's artwork is a style consistent with the series, giving the reader detailed draftsmanship while also packing the pages border-to-border with character actions and backgrounds. Week after week, while I find something to pick on with each installment, JUSTICE LEAGUE VS. SUICIDE SQUAD continues to bring it home as the highlight of my Wednesday reading experience.

JUSTICE LEAGUE VS SUICIDE SQUAD has had a lot of good in it. The rotating-artist approach allowed for a quick one-a-week release without any delays in scheduling, and most of the artists maintained a rather consistent look across the series. I feel a little disappointed in the conclusion, however. It just felt rushed, and made the entire series seem to be put out as a launch point for two other ongoings. And yes, that may have been the actual point, but the reader shouldn't be as aware of it as I feel I am in this instance. Batman's change of mind on the necessity of Task Force X is a departure from his usual intractible views on justice, and I have to wonder if he's only saying that to get his way with Killer Frost's release or if he truly has found a place of compromise in his philosophy. But that's a debate for another time.

It's a rather prosaic start for a supernatural adventure. I'll need more meat from the second issue to see if it's worth staying with until the end.

Despite the cringe-inducing tropes, Matt Miner's dialogue is realistic, and the plot has a definite direction. Artist Creees Lee is playing way under his league, with phenomenal linework, anatomy, and background details. Expect to see him on a top-tier book in the near future, and pick this one up so you'll have some of his early work later on. LAB RAIDER is worth following into a second issue to see if there will be any moral character development in Sarah and Jeanette as they push past ethical and legal boundaries to follow their conscience.

Fortunately, Ryan Sook's pencils elevate this book from being a bad comic to just being a badly told story. The pencil lines are neat and clean, and you get some nice heroic poses of many of the characters. Sook has always delivered great interiors, and his artwork is the only reason to even think about picking this one up. (Well, that and the wild speculation market that thrives on first appearances of new characters.)

Lenore reads something akin to what one might expect of Jeff Smith's Bone, had it been written and drawn by an LSD-fueled Charles Addams. It's hilarious in all the wrong ways -- which are, of course, the best ways. And don't worry if you're not up to date on the story so far. Flashback Squirrel (bless his soul) will be there to catch you up as best he can.

The really cool thing about this issue is that you don't need to know a thing about what happened before, because, as always, Flashback Squirrel is there at the start to bring you up to speed. But honestly, it's even more fun if you just take the surprises as they come -- just like Lenore does.

Hill's writing perfectly nails the entire vibe of The Sandman. With the passing of every page, I felt the same energizing excitement that thrilled me in 1988. Likewise, Gabriel Rodriguez's art is lush, detailed, and in every way a perfect fit, allowing both worlds to meld seamlessly together. Locke & Key / The Sandman: Hell & Gone is less of a crossover, and more of an acknowledgement that both stories always existed side-by-side, and you're only now being made privy to it. This one gets our strongest recommendation.

Bob Q does some great stuff here with the panel layouts and applications of color. In four stacked panels he effectively communicates in pictures that the Lone Ranger has rode like the wind from sunup to past sundown, using the comic medium to convey the passage of time while condensing it brief scene. Eisner and McCloud would both be proud of this scene, as it's a textbook example of how comics work when utilized correctly.

The motivations may be a bit weak, but the concept and the execution are enough to bring me back for the next installment of those thrilling days of yesteryear.

Kyle Starks and Chris Schweizer deliver all the bizarre and grotesque death at Martian death-rays and freeze-rays that form the backdrop of this story that, ultimately, promises to be about something more.

What really disappoints, however, is that I've already seen READY PLAYER ONE, and too many elements -- including the denouement -- are lifted directly from that plot. It's been years since I've seen work by Devin Grayson -- nearly 15 years, actually -- but even so her previous body of work prepared me to have expected more.

Alterna Comics, for those not aware, uses the retro paradigm of publishing on newsprint, just like comics were printed when I was growing up. The upshot of this means the looks of the book have a certain nostalgic aesthetic to them, but they also come at a much lower price point. MIDNIGHT MYSTERY #1, like almost all Alterna Comics, is cover-priced at $1.50, something this reviewer hasn't seen since the mid-to-late 1980s. That alone should be reason enough to tempt new readers to give this a try. After that, the story itself will be proof you chose wisely.

Max Allan Collins knows a thing or three about writing private dicks. Yes, he wrote Batman for a while. Yeah, he wrote Dick Tracy for a while. Yeah, he wrote Ms. Tree for a while. And now he's writing top shelf pulp with MIKE HAMMER. He's a veteran at this kind of story-slinging, so you can relax.

Miskatonic High will remind you of things like Buffy the Vampire Slayer, Scooby-Doo, and Ghostbusters. But more importantly that than, it will remind you of when comic books were fun to read.

MISTER MIRACLE #6 by Tom King and Mitch Gerads is a masters class in what can be done with comics using the standard 3x3 panel structure.

If you haven't been paying attention to MISTER MIRACLE, there's almost no hope for you. Put in your order for the upcoming trade at your local comic store today and redeem yourself and your dignity.

Buy this book. Hide it from your normal friends, by all means, but buy it, and read it many times.

They just totally robber Watchman and it was glorious!

I'm not sure how much longer Gillen can pull off the persistent "This is the next level of Watchmen" schtick before it gets tiresome, but I'm willing to give this one another issue just to find out. You should too.

Be warned: PETER CANNON, THUNDERBOLT is a very cerebral read, which takes the audience from superhero comics to indie autobiographical comics to the world of formalism and the metatextual. It's one you read, and then re-read to see if you missed something or to go in with an informed perspective the second go-round. On one level, it's blatant, and on others it's understated, and that makes it a standout gem of a comic in a market that repeatedly fails to deliver entertainment.

Melo does a nice job with the artwork, giving everything a modern look yet still reaching back to the mobster fashion of the Jack Cole days. Plas still has a warped sense of humor, albeit more puerile and penis-centric, which will make it a hard sell to a younger audience. (Ah, kids don't read comics anyway, so why try, right?) Anyway, I'll continue to check this series out through to the end or until it jumps the shark.

If you enjoy stories about the super-intellectual along the lines of Sherlock and Tom Swift, you don't want to miss this. And if you missed the first story arc, be sure to grab up the collected edition.

If you like over the top violent comedy, then HEROKILLERS is probably something you'd like to check out.

Is the apocalyptic future immutable? Or will foreknowledge of events give the Green Llama the edge he needs to save the future? It's a brilliant lead-in that teases the import of the tale without giving too much away at once. One thing's for sure, it's got this reader hooked enough to come back for the full-sized first issue of PROJECT: SUPERPOWERS!

PROJECT: SUPERPOWERS is grand superheroic fiction at its finest, with an incredible cast of characters, superbly illustrated, and facing down the kind of impossible threat that can only exist in comic books. Where some of the iterations of this franchise have been hit-or-miss, this one has been spot on from page one! Highly recommended!

I do hope the stories get a little deeper than "Oh no, Murky and Lurky are sapping the colors from that field of daisies!" But I expect Whitley has plenty of ideas to explore, and for a first issue I wholeheartedly recommend Dynamite's RAINBOW BRITE to the all-ages readers market.

Jeremy Whitley andBrittney Williams continue to deliver an engaging story that draws upon a rich lore of characters and themes, modernizing them while keeping them kid-friendly. In a world overrun by the grim and gritty, RAINBOW BRITE shines!

It's more than just a mouthful of a title, it's potentially a plot overload.

Sporting a classic romance genre comic by Joseph Michael Linsner, the Red Sonja Valentine's Special 2021 is a light tale of beheadings and slayings. The interiors are exquisitely drawn by Cafaro, and Willingham excels at clever plot twists to keep the reader engaged. If you didn't pick this up this week, get to your local comics shop before Valentine's Day is over.

Sword and sorcery, sex appeal, and some serious storytelling make RED SONJA: BIRTH OF THE SHE-DEVIL a book that earns our highest recommendation this week.

Despite the distractions in this chapter, the overall concept and the gorgeous art will have us coming back to see how the reunion with Sonja and Shoshanna will go -- if, indeed, it goes at all.

This first issue closes on a jaw-dropping cliffhanger that will definitely have you wanting to come back and see resolved. Dan Abnett weaves and exciting and intriguing tale, exquisitely rendered by Jonathan Lau and Andrew Dalhouse. The dialogue is unique to each player, making them interesting and distinct from each other rather than interchangeable generic heroes. And despite my misgivings as to the "down the road" impact of having Red Sonja be part of a pluralverse with superheroes interacting now and then -- those of you who've seen Conan join The Avengers know what I'm talking about -- I heartily encourage you to pick up this issue and jump on the ride. This one's worth it.

Whatever this is, and how if fits into a universe with X-23 and Old Man Logan and whatever other variations exist on timeline-collapsed Earth Marvel, it's certain to draw fans of the old canucklehead in droves. Charles Soule (whose off to kill Daredevil after propping Logan back up) has a story to tell, but it's told in leaps of logic and convenience.

The interior artwork from Allan Otero is sharp and in keeping with the quality of the Edgar Salazar cover. The easter egg hunt on page two is inspired. Unfortunately, many of the panels lose the detail of the inks from the coloring job by Grostieta.

Featuring some fast-paced storytelling from Gregory and gorgeous interior artwork from Allan Otero and Grostieta, REVENGE OF WONDERLAND #2 really gets the adventure into full swing, leaving the reader eager for the next issue.

Boyle states in the book's introduction, and then later on in the story itself, that REX ROYD was not supposed to make a narrative sense, but a poetic one. In that case, I suppose it's mission accomplished. It certainly evokes some of the sensibilities and high concepts of the works of Mark Millar (who pens the books foreward) and Grant Morrison from his INVISIBLES and DOOM PATROL days. But be aware upon entry that REX ROYD is an experiment in storytelling, and as such it doesn't so much defy normal conventions as remains completely ignorant of them. As such, for this reviewer, it's an unsastisfying cup of tea. It's cinematic foreplay replete with graphicus interruptus, and leaves one with a pondering of what the story could have been.

The stories are both told in first-person form, and with Eisma pulling the pencilling chores on both they tales retain a consistent feel to them. If you're a fan of the television show, you'll want to pick this up to get the complete feel for the characters you love as well as the ones you love to hate.

You don't need to know a lot of backstory to jump in on this one, which makes it an easy pickup. If you want wall-to-wall action in your comics, you'd be well-served in getting this one on your next trip to your local comics shop.

SCARLETT COUTURE deserves certain props, however. This series is a marked deviation from the status quo, in a very good way. Fans of certain Japanese animated adventures will certainly find some admirable qualities in this series, which deserves more than a quick thumb-through at the rack. This comic represents more than your usual risk-taking on the part of the creator, which will certainly be rewarded if the stories can get a little more complex.

SECRET EMPIRE #0 is written by Nick Spencer, who, despite my nitpicks with the plot restraints, has a mastery of dialogue over all the characters, and has built up tremendous suspense for the storyline to come. Daniel Acua and Rod Reis have their hands full with portraying the bulk of the Marvel Universe characters and its settings, and have done so without missing a beat. It's a good piece of comics. I'm just hoping it's a good piece of comics that serves as a stepping stone to something even better.

While the series is presented in English, the pages and panels retain their original right-to-left format -- a task made even more difficult for Western readers when using a digital reader built with left-to-right as a default pagination method. However, it's not an insurmountable obstacle, and worth the effort to follow the comic adventure.

Orange and Red come together as the chapter closes, but we get so many non sequitur flashbacks that it simply becomes too mentally draining to try to piece it all together. Christopher Hastings takes a fun concept -- obviously lifted from Into the Spider-Verse and Dark Nights: Death Metal -- and manages to mold it into a shapeless muddle, with a narrative no one can follow and a plot driver nobody cares about. It doesn't even take that long to fall apart, with Orange Sonja looking directly at the mecha-vs-kaiju battle, then acting like she is hearing about it a panel later and seeing it as though for the first time the panel after that.But at least most of the interior artwork is nicely done by Pasquale Qualano and Jordi Perez, and the Jae Lee cover is as exquisite as one would expect. Overall, to paraphrase from Cool Hand Luke, "What we have here is... failure to communicate."

One thing that hasn't changed since the first issue is that each issue seems to have been written in a rush. There's a plan and a plot. That's easy to see. But a little bit of proofreading would go a long (LONG) way to improving the storytelling. But SPAWN fans are unlikely to notice, as they get caught up in the visual spectacle of the greatest battle of Al Simmons' afterlife.

So lay in a course for your nearest comic book shop and give this science-fiction crossover a try. Here's hoping the property can find new life and continue to boldly go.

I've seen a number of these STAR TREK crossovers from IDW in the past, and I've had a mixed amount of enjoyment and bemusement. While I thought I'd enjoy the DOCTOR WHO crossover more, I was particularly happy with the LEGION OF SUPER-HEROES one. However, I find my expectations for STAR TREK / GREEN LANTERN remain high after this first issue. The coloring is exquisite, the plot can be followed and gives just enough mystery to leave us asking "Huh?" without asking "WTF?" The artwork is extremely enjoyable, as Hernandez pulls of the rare stunt of drawing characters who resemble the actors without getting that immovable posed quality that often comes from adapting real figures into the comics form.

The artwork in this issue is absolutely stunning. Jesus Saiz's figures don't just resemble the actors from the original trilogy, they seem to be almost perfect portraits of them, without losing any of the dynamism that usually comes from being so photorealistic when making a comic.

The one critique I will leave that is even worth mentioning is with the coloring by James Couts. It's a perfectly fine job, but it's a bit limited in tone. It's very bright throughout the book, and gives the pencils a flat appearance rather than adding depth to the panels. It's not a deterrent to enjoying the book at all, it's just something that could be done better. Overall, however, this one gets our recommendation.

It's worth a follow for the first few issues to see where things lead. But, like Bert in Mary Poppins: "Can't put me finger on what liesin store. But I fear what's to happen all happened before."

Perhaps if I were more familiar with the events of the television show, I'd be better prepared for the book. I can't say that the book is a gateway to the series for the uninitiated, but I expect that if you're already a fan of the show you'll likely get more enjoyment out of the book than will anyone going into it cold.

I'm not usually one for the SUICIDE SQUAD books, particularly in the New 52 Rebirth incarnation, but this issue has all the right stuff, and I look forward to picking up AQUAMAN #39 next week to see how it goes from here.

Dan Abnett spins a fine yarn, in a story that sets Queen Mera up to be a formidable force in the world of DC Universe politics. And if you think she's going to butt heads with Amanda Waller, you may just be surprised at the inevitable meeting of these two powerful ladies. Joe Bennett and Vicente Cifuentes do some solid linework, although the coloring sees to flatten out a lot of the details. I also enjoy seeing Dolphin among the Aqua-team, but I miss her original look of denim cutoffs, but that just comes from having been there when it happened.

So remember boys and girls, when you're telling a story and find yourself painted into a corner, remind yourself: "It's only a comic book. I can always blame magic."

Straczynski and Syaf are knowledgable industry veterans, and SUPERMAN: EARTH ONE is a lasting testament to their storytelling abilities.

The story involves Lois looking for some help from a reliable, trusted source on how to control her newly acquired powers, which leads her to Lana Lang -- the girl who helped Clark figure things out in Kansas. Shift forward a few weeks, and Lois is on hand for a disaster involving Lex Luthor's newly unveiled mobile base of operations. It's a disaster that threatens hundreds of lives, including Lex Luthor's, and will require teamwork from a partner you weren't expecting to see. Trust me, after the introduction at the culmination of this chapter -- which borrows some classic lines from SUPERMAN: THE MOVIE -- you'll be coming back next month to follow the adventures of SUPERWOMAN. She's not who you think she is.

TAP DANCE KILLER is like finding new old stock of 1970s Marvel Comics that never got released. They're original, unique, and know how to use the dynamic storytelling medium of comics. That's something we've waited 40 years to get.

The storyline of TAP DANCE KILLER continues to be frenetically fast-paced, with a deeply intricate plot that never takes the time to stagnate. Ted Sikora's story is something completely unique, the sign of a writer thinking outside-the-panel, as unpredictable as it is addictive. For the most part, Nikolaus Harrison's pencils are clean and tight, but appear a bit rushed in places like Carlotta's calling the family to action. Regardless, this is an old school comic with a new school of style and flair, completely unique, wholly enjoyable, and highly recommended.

Jim Balent's long-running fan-service series is one that doesn't take itself too seriously. The artwork is fantastic, but the plot varies from NIGHT OF THE LIVING DEAD to GHOSTBUSTERS in its tone.

With exquisite detail and the fan service the readers of this series have come to expect and enjoy, TAROT, WITCH OF THE BLACK ROSE #113 definitely doesn't disappoint.

Holly Golightly gives this issue a very muted color treatment this issue over Jim Balent's pencils, which adds to the whole reminescent mood of Raven Hex's ruminations.

So I'm along for the ride for now, and I'm bringing my optimism with me that this new Teen Titans may continue to be worth my three bucks each issue.

If you're a TURTLES fan, this is the issue things have been building toward. If you've been away for a while, this is the issue to catch you back up. Either way, it's going to be a milestone in TMNT history that you're going to want to have in your collection.

This book also contains a blast from the past backup feature: a classic Sabrina comics story written by George Gladir and drawn by premiere Archie and Josie artist, Dan DeCarlo.

Robert Hack's artwork is appropriately creepy for this horror title, delivering characters with expressiveness as well as settings that are familiar yet presented in a more (appropriately) haunting way. It's been worth the wait to get this far. Let's hope we can go even farther.

Refreshingly tension-filled with insurmountable odds against the hero, DEATH-DEFYING DEVIL is a fun superhero read, and I'll be looking forward to the next issue. I think you should, too.

If you can stick with things this far, keep it up. Because it gets more disorienting from here before things start to clear up. The Devil is getting the short end of the stick again as the (now) desperadoes prepare to kill the masked hero unless he relinquishes his protection of the house. (Already this should put up a red flag, since killing him would, it would seem, immediately negate his protection of anything.) The house is special -- but not because it sits on land that could be developed.

What writer Gail Simone delivers is a bunch of random cutout characters who endlessly tell you their back story while passing sandwiches and cutting slices of cake. It's less of a comic and more of a menu with angst. There is no plot narrative, no closure, no satisfaction to be had.

A horrific blend of CORALINE and THE INDIAN IN THE CUPBOARD, THE DOLLHOUSE FAMILY is a breakthrough in the comic book horror genre, the likes of which we haven't seen since Jamie Delano kicked off the first issues of HELLBLAZER. Highly recommended.

Storywise, the plot and dialogue could use some tightening. The buildup in places is overwrought just to shoehorn in an obvious joke. The artwork is serviceable, neither horrible nor elevated, and the characters being caricatured are certainly recognizable. If you're a fan of political poking, THE DONALD WHO LAUGHS is one you will probably want to check out.

Jimmy Palmiotti's "A Higher Place in the Stars" is an entertaining read, and Pier Brito's adaptation of the cartoon characters into a more realistic perspective is intriguing (although Elroy is a bit on the tall side. But overall, the story was missing a certain something -- the essence of the show that made THE JETSONS a comedy instead of a light-drama.The same mistakes were made with THE FLINTSTONES, which is why I gave up reading that one early on. There's promise here, to be sure, so I'm hoping another iteration of THE JETSONS is in our future, just to see if the minor course corrections can be put in and the series can finally blast off.

This book is a solid buy, through and through.

Using the characters of The Jungle Book stories as the template for this interpretation makes for a unique storytelling opportunity, and Miller appears to be taking full advantage of that. Michele Bandini's artwork, while not overly detailed, still works wonderfully here, giving the animal denizens of Kipling a pseudo-anthropomorphic style, possessing qualities of expression while sticking closely to the natural appearance of the animal. The story is unhindered by a ton of backstory, while still managing to weave a number of separate plots around a central nexus. Kipling would be an nice place to be able to visit regularly, once the mini-series is completed.

Along the way you'll get to meet deadly imaginary friends, an immortal suicidal killer, and a perfectly charming little girl's birthday party. The Magic Order is Harry Potter by way of Coppola and Scorsese. It's full of richly imaginative elements and weird rules, populated by venal people who try to do good or revel in doing evil; just the thing for the comics reader who's become jaded with homicidal clowns perpetually being beaten by sociopaths with a leather fetish.

I expected an intriguing story from Krueger, and he met and exceeded those expectations, ensuring I will be returning for the next issue and recommending it to others. Kruegers inclusion of the economics that would be necessary to control a superhero brand put me in mind of Rick Veitch's BRAT PACK.

Tom Sniegoski, steve Mannion, and Scott Brown collaborate on this moral parable, delivered by The Goon and Franky themselves. Expertly drawn and irreverently written, these rotten little kids will capture your heart -- and then put it in a jar and pee on it.

The artwork of the graphic novel has an appeal, although there's also a certain chiseled look to it. While the landscapes are highly detailed and lush, and the characters are believably constructed, there are times when they appear "flat" -- which could be a result of the inking, the coloring, or even the printing, I'm not sure. It's still quite good in its rendering, and worth a read.

Easter Egg alert: Can you find Uncle Eerie and Cousin Creepy in this year's special? I bet you can!

Overall, for the introduction of a potentially useful recurring character, a classic reprint, nicely colorized interiors, and again, that suitable-for-framing cover, the VAMPIRELLA VALENTINE'S DAY SPECIAL is a title we can recommend looking into.

All good scenes, but none of them belonging to the same story. But maybe it's meant to be inconsistent. Maybe that's the clue that the overarching story is trying to reveal -- that it's all a dream or some mental prison, and we'll look back at this from the first issue forward and smack our heads over how obvious it should have been. But for now, it remains an attractive nuisance -- beautiful to look at, but makes you scratch your head hard enough to leave scars.

Set against the backdrop of the Cold War and the Russian space program, "These Dark Synchronicities" is the kind of Vampirella story I've been wanting to read for a long time now. I will definitely be back for more of this.

I'll be curious to see where the second issue takes things, but overall this isn't a version of Vampirella about which I'm overly enthused. I can get behind the idea of putting her on the Project: Superpowers team, but the execution here and the characterizations are just too off to want to see as an ongoing series.

Get the writer and the artist on the same wavelength -- i.e. tell the editor to do his job -- and this story may yet have a chance to stick the landing.

Dan Abnett has made the idea of Vampirella as a superhero work, even though it took a few issues to get the motor warmed up. And while the issue has been parsed out to a handful of artists -- Jonathan lau, Alessandro Miracolo, Vincenzo federici, and Jordi Perez -- there isn't as much jarring changes in style as previous issues have exhibited. I don't know how many issues this book is slated for, but I'd hate to see it come to a conclusion just when it was beginning to get really interesting.

Which means you should pick up this issue, and you have a good 30 days to hunt up the previous three issues so you're all caught up before the final chapter of this story comes out.

This first chapter from Raven Gregory and Allan Otero features just enough of a taste for readers to know the threat level both femme fatales bring to the table, The artwork is finely detailed, and Robby Bevard's colors are perfectly eye catching. And while I of course would have liked to have seen the issue end with a bit more of a direct confrontation, the mystery is nonetheless put into motion.

VILLAINOUS does for superheroes what WICKED did for fairy tales. Stonie Williams and Jef Sadzinski have developed something unique in the landscape of comic book capes and cowls, producing something that should make it onto your regular Wednesday pull list. The story is intriguing but straightforward, and the dialogue sometimes a bit over the top, but overall eminently enjoyable. The art is professional grade, borrowing techniques from manga and applying them to a western style, with clean linework and quality coloring.

The foil logo and the cover art from series co-creator Jamie Tyndall help this book truly stand out from its competition on the shelf, and should make for an easy sell. It's a fun story, overall, and should satisfy readers looking for an escapist action title that doesn't moralize.

The artwork is top notch, and nobody beats Gail Simone when it comes to characterization. Wonder Woman has never been more popular than she is this year, so expect this one to fly off the shelves.

Year of the Villain has offeed up a mixed bag of titles, and the whole Nth Metal, Dark Multiverse (negative-numbered universes where everything went wrong) is more than a bit of a logistical tangle, plotwise. But HELL ARISEN is definitely one of the brighter spots in the event, and worth the investment of both time and money.

I'm willing to give this team a shot for old time's sake, and I'll keep my optimism high. But that optimism is going to be tempered with caution. A stronger start would have made for a stronger foundation in my eyes.

Johnston McCulley's hero is out of his element, which is a fantastic way to explore a character even further. Placing him into the lost world created by Burroughs is a fun way to celebrate the masked man's centennial, Mike Wolfer and Alessandro Ranaldi work well together, remaining faithful in tone and appearance to both worlds as they marry them together. The opening panels provide just the right bit of foreshadowing (since the title already gives the reader expectations of what is going to happen), and the pacing moves quickly, getting us from Los Angeles to Caprona and dropping off at just the right kind of cliffhanger to bring us back for more. We definitely recommend this one to our readers.