The perfect thing to read this Halloween season, Hellboy: The Midnight Circus has it all. Gorgeous art practically enveloped by the shadows of the night, great pacing, and enough nods for longtime travelers through the Mignolaverse that they can consume this dish in a ravenous fit of hunger. Hellboy in Hell can't come back fast enough, but in the meantime, go read Midnight Circus. Purchase a ticket, and see this story of dark wonder.

That moment when you become completely immersed in a work of fiction is a blissful one. I achieved such a moment reading through Monster and Madman; only one issue in and I'm already Googling through Damien Worm pictures. He's that unique an artist and Niles has nailed yet another atmospheric take on a classic monster. If you're a horror fan, in particular a fan of monsters, what are you waiting for? Go get this right now.

For fans of supernatural detectives and monsters, and especially for Niles fans, this is a must have.

Let's face facts. When it comes to horror comics, there is a lot of repetition. Themes get abused like a whore at a millionaire coke party. Abused like a heroin addict in a rugby game. Abused like my drug analogies. But, Locke and Key is original. And when you find an original horror series, you cling on to it like a lover who's just told you they are dying of cancer, and only have a few months left. You want to spend all your time with them, and let them know that you appreciate them. That they mean a lot to you, and will be remembered.

Go read it. Now. For those lamenting the loss of Hellblazer, don't worry. This has a remarkably similar tone and has unique, brooding dark art to boost. Like a knife to the throat, and a whisper in the dark. Thanks Image, and Joe's Comics. You've given us a rare perfect comic.

I don't think I can rightly explain how psyched I am on this series. It gives me the fucking willies, and hits me right in the feels. It has the gritty feel of an urban detective drama, and the outlandishness of a supernatural tale. Ridiculous elements merge with stark realness to create something that is shocking, funny, sad, and mysterious.

It's really good. Yet again, I can't think of a single part I didn't like. It's funny, sad, and makes you feel the anger the protagonist feels, which occurs in the best fiction. When I read Ten Grand, I'm right there with Joe, no matter how weird stuff gets. J. Michael Straczynski and Templesmith are a marriage made in Heaven (and Hell), and I hope they decide to work on something else together in the future. Not only is this my favorite comic series of the year, (even surpassing Colder, which I really dug), but it has become one of, if not my favorite, fictional work of the year. Unless they really botch it with the ending, I see this easily being very high on the list of my favorite comics of the year. A mix of noir, horror, and straight up drama; do yourself a favor and read Ten Grand.

This issue is worth picking up to see the exchange between Joe and the skeleton in charge of letting souls, and Joe, cross the river in Purgatory. By and large, this issue is just as good as the last four. Yet, there is obviously a big Templesmith-shaped hole in the work. I applaud J. Michael for going with a different artist with a different style, but it gives the work a whole new tone. This isn't a bad thing per se, but it will take a little getting used to if you have been following the series thus far.

It's a really engrossing story, and while the art isn't my personal favorite, most sane human beings who aren't nit-picky as all Hell should have no problems with it. It's fast-paced, biblical, and really cool. For fans of Constantine, and other supernatural detectives, Ten Grand #7 is Heaven sent, and a Hell of a good time.

Colder The Bad Seed is growing into one terrifying series. I'm both elated, and terrified what this thing will grow into.

It's not bad. I hope next issue we get to see more Declan, and that we finally get some back story on the guy as well. And, so hoping, let's again hope said backstory doesn't take all that is compelling away from the character. A lot of this issue seems like a rehash, to reacquaint us with the world we were introduced in the first arc. Necessary, but tedious, in other words.

Art by Ben Stenbeck is solid; some fun facial expressions and blood splatters. Typical looking vampires, save for the use of color on them. But hey, they're still some great looking vampires. This is one of those comics you read, and it makes you just want to go be a badass monster hunter. Although not one with a wooden leg; I imagine that would be a pain in the ass.

Art Baltazar provides some jaw-droppingly cutesy art. The coloring brings to mind crayon drawings. And the little guys act child-like, because they are all children, so duh. They're adorable little supernatural rapscallions!

The art from panel to panel seems to move in jump cuts. It's really neat. And the action sequences are dynamic. Likewise, the color use is great, with flashbacks in orange. It's a very pretty comic to look at. 9.0 Great art and artistic devices.Good mystery.Noir and pulpy, and deliciously so.The Beetle isn't explained much.

The way the characters interact with the castle and the surrounding village gives the whole piece a vast, sweeping sensibility.

There is a bit of a twist if you haven't read the other two issues, but otherwise it's not a twist at all. It's still cool to see Agent Anders go vampire, and get some glowing red eyes. The plot is really quite good, and even spans back a ways in the B.P.R.D. series. So, stuff for people that have been reading religiously, but not so hard you can't go back to issue one and pick up what's going on. Hell, you don't even need to start with one. Just Google what's going on. Still, I'd be remiss if I didn't mention the plot is in fact more complex than vampires fighting each other in a cave, and sweeps this and another arc. The historical aspects of the plot are quite intriguing. 9.0 Great vampire action!Plot is engaging, filled with history, and sweepingTakes place in a cave for most of it! BrutalI'm an asshole…but the noses.

Pretty good, and it has its moments: A really spectacular fight scene, and some cool panels of dark gods, and dead things. But at the end of the issue, though you're intrigued where the last issue is headed, there is one nagging question. Why should I care about these random B.P.R.D. agents I barely know? Abe Sapien I care about. Johann I care about. Hell, wheelchair lady, Panya, I care about. But these one- or two-and-done agents that keep popping up to either die, or go back in time, or turn into" There have been so many B.P.R.D. issues being churned out, and I'm having trouble remembering one with an agent who I cared about the safety of. Read it for cool supernatural people battles, but don't expect to be worried for another red shirt.

Though I've had gripes with the art style (and have never neglected to be a douche about how I don't like the pointy noses) the art in this issue goes beautifully with the prose. Once again, Ba and Moon steep this comic in atmosphere, and the effortlessly fluid nature of the flow from panel to panel makes this comic rush by. Gothic castles, cold wilderness, and a general sense of inevitable damnation is conveyed through the depictions of Agent Anders, and of the other characters and beasts around him. 9.5 Great flow to the comic, between the art and the writing.Memorable use of Professor Bruttenholm.When analyzed as a whole series, it isn't as good.

A distinct artistic style, and interesting adaptation choices make this issue a definite must for Poe fans, and definitely a must for Corben fans. The atmosphere created is entirely immersive, even with an old lady randomly popping into the panels to spout bad puns at the beginning and end. I would go on to say this actually added to the charm. This comic is a lot of fun.

However, it's still really fun to take in through your sight balls. Slightly hokey, it has the feel of one of those classic Edgar Allan Poe adaptations Hammer did with Vincent Price. I always get the warm-fuzzies when reading Corben comics. He's a throwback to the days of weird narrator characters at the beginning of anthology horror comics. And it's always excellent to see more horror anthology type comics coming out. Still, it comes and goes too soon. 8.5 Very atmospheric art, and writing style.Lots of influence from Poe's other stories.Over too soon.

Right on J squared, y'all done subvertified my expectations. Southern Bastards #5 is mean. It forces you to look into the motivations of a man who just four issues before, we were led to despise. But it makes you wonder, is Couch Boss the problem? Or is the town which allows him to reign over them the real issue at hand? The art is great as ever, very red as a lot of the issue is in flashback. Only hang up is the action slows down. You get a few bits of intensity in the flashback, but otherwise Bastards is back to its character study roots. I ain't got no problem with that, but mayhap some of y'all might not like the shift in pacin'. Either way, this Southern Bastard is intense.

Yeah, it somehow kept my attention despite being about a sport I don't give a shit about. It gives you a glimpse into the backstory of a complex man, a view into the head of what is presumably the villain of this drama. That said, it is mostly about football, and yes it is set in the south, but a whole issue focusing primarily on football is obviously not for everyone. As stated, it is still entertaining even if you don't like the pigskin, and it gives us a tantalizing glimpse into a man who runs Craw County with a grid-iron fist.

After being fairly underwhelmed with Thumbprint, and less so though still underwhelmed with the second to last issue of Locke and Key, Sean thought himself over the Hill. But with Wraith, things have taken a decidedly darker turn. In this second issue we get prisoners, and the banter is just delightfully obscene. Also, there's this old guy in the beginning who is wildly entertaining.

Oh, it's good, son. Go read that ish, dog. The only fault to be found is that with all the chronological hopping, it's a little tough to remember the everyone's timelines. At least it is for me, but I've never been blessed with a Fotos-graphic memory (see what I did there?). I'm dreaming of the next issue, and more demonic-lookin' reindeer, obese, elderly-lookin' giant teddy bears, and other Christmasland scary-merriment.

I'm really loving this series, and it's unlike anything you've really seen in horror comics as of late. It's fun, but has a darkness to it just a shade darker than that found in, say, Locke and Key. Obviously for fans of Joe Hill, I would also recommend this to horror comic fans from all walks. From the dyed-in-the-wool extreme horror nerds, to the classical horror fans, I think there's a nice little blend to be found here. CP Wilson III's art gets the job done, and it's a nice departure from the plethora of werewolf, vampire, zombie fare which seems to dominate the type of comics I love.

Very much an intro issue, and yet it drips with atmosphere and foreboding in the way the best of post-apocalyptic fiction can when it's executed right. This is Templesmith firing on all fucking cylinders baby, and he's only just cocked back the hammer with this firstie. If there is any problem with this first issue, it's that it's over in the blink of an eye. It moves at the speed of a blood-thirsty squid demon from space. Bottom line, if you are a Ben Templesmith fan, read this book right now. Go. Go purchase this, right fucking now. If you're a fan of post-apocalyptic action shiz, you'll probably dig this too. And hell, if you like monsters and BAMFs in dystopian futures, you should give this a gander. Excited to get my tentacles on the next chapter.

It's intriguing, as this universe is bad-ass, but it suffers from what a lot of second issues suffer from: the dreaded bog down. It's rad to hear about the history of this new world overrun by evil squid demons, but it comes off as overly-wordy and crammed in. That said, it's still a dude genetically modified to fight giant-ass squid aliens, so even when it does take a detour to exposition land, it's still fun.

Quite good. Minor bitchery relating to the pencil sketch-in style, but overall it's visually enoyable, dark, gritty, space-squid fighting action. Oh, and The Squidder does the do. Go pick it up, but please, start from issue 1. This is not a book to start three issues in, people.

If you've never read anything Templesmith has done, it's a good starter comic. But I can't help feeling like it's mainly surface. However, if a beautiful person makes you smile, do you care if they aren't wildly original? Fuck it, enjoy it for the giant dudeborg killing alien squid.

Laurence Campbell is Tim Bradstreet-esque. Faces masked in shadow. Somewhat photorealistic, which makes it that much cooler when a giant-ass monster is vomited forth from the ground.

You're down there in the streets with the agents, and you feel their fear, you can sense their outrage and disgust. Not to mention his scale work is phenomenal. Mutated humans are much larger than us, and you know this because of Campbell's fantastic proportional work. 8.5 Manages to tie into the Abyss of Time arc.Art is great, large in scale, great facial expressions, and scary beasties.Writing makes you feel for the agents, and survivors.How many times can one be expected to react to, in essence, the same story?

Yes, it is good, though if you're picking up the series for the first time with this book, you'll probably be a little in the dark. Regardless, it's a bouncy, creepy, aww-inspiring smorgasbord of doggies, kitties, and the supernatural. Go give it a read, after you've fed the cat, walked the dog, or hung out with your evil horde of rats or crows.

Yeah, it's over quite quickly, and I don't remember, or perhaps we never find out which country we find ourselves in, but who cares?! You get a giant mud man killing Nazis. And it's surprisingly emotional considering this could have easily just been campy fun, with no substance. It's a fast read, so go pick up the series if you're a fan of throwback, black and white comics with giant monsters.

However, there is still the clich revenge aspect of the plot, which keeps this tale from elevating itself much higher, for now. Give it a read if you dig splatter, and want to watch an old guy bang a plastic blonde. But also, read it if you like things which throw Hollywood on its head.

I love this series, and would say this is a great issue to check out. However, a lot will be lost on you if you haven't read anything else. Won't have quite the same emotional resonance. But, as an issue, yeah, it's solid enough. You get a good feel for the atmosphere of the series. The art is engaging and lends itself to the plot.

Anyone who likes the B.P.R.D., or Hellboy, should give this series a read. Great art, an excellent story line. What's not to like? Well, as so much has occurred in the Mignolaverse, you might be overwhelmed just hopping into this issue. Isn't that every comic though?

Abe with a shotgun! Abe beating the piss out of Monsters! Fuck! So good! Righteous! Ah! And he ends the comic going into the sea! That said, the ending is fairly unsatisfying. I want answers. Why did wheelchair bitch say those things to Abe? Why homeboy going back into the sea? So many questions!

Also, the proportions are on point. The perspectives are interesting in certain panels. A lot of Abe running and mutant coyotes hunched over, about to pounce. You gotta love it. 8.0Beautiful looking Abe.Spectacular huge monster panels, and great monsters in general.Narrative went in a direction unexpected.TELL ME WHAT THE FUCK IS UP WITH MY ABE!

It's a cool comic, but again, absolutely nothing new is brought to the Mignola-verse. Same monsters (except the zombie), and same Abe trying to find his way. Same characters who are barely introduced die, and I still don't feel any pain at the loss. I just met them and they didn't make much of an impression. It's not a bad issue, but it seems like so much that has come before. So, worth a read, but don't expect any huge revelations. If you're down to watch some people shoot monsters, and to see Abe kick some ass, then by all means, have at.

Again, it's another decent, but not amazing, Abe Sapien issue. Again, I wish more had happened, but it's better than Abe wandering around the desert learning about Mayan gods and not actually doing anything other than meeting Mexicans from Arizona. I'm bummed I flaked on last issue; it looked pretty cool.

Great action panels. Wonderfully noir and pulpy. The Lobster has assistants now! Great mystery. Yet again, a Lobster series is not more than 2 issues.

It's certainly a comic. Is it good? Eh. I wish I cared more about the mystery before Lobster Johnson, but I can't help but feel like I'd rather just go reread old back issues, or go read The Black Beetle again. It's not the worst comic I've ever read, but it certainly ain't the best. It's simply"there. There, and gone. Who knows, maybe it'll pick up as we head into part 2.

The only complaint is that yes, it's enough to keep me going, but am I going to rush out and get the new one the first chance I get? Probably not. Still, it's a good read, and I do what to see where this Lobster is headed.

Good work on the colors, Dave Stewart. Stewart is a phenomenon with color. So, right on, dude, your Eisner awards are well deserved. As if anyone needed me to confirm this. 9.0Awesome monkeys firing guns art.Good plot, actually tied up well in two.Still, I long for more Lobster.

The art is a realistic style, and Sean tends to prefer dat. Proportions correct, no beak noses (I have no idea why beaks bother me so much). You look at it and can easily imagine how these things might look if you really went down to Vegas and saw a vampire with an afro, and one in a flannel shirt, kicking ass. 8.5 Cool plot.Funny as Hell.Art is fun.Not very intimidating vampires.

The panels gets the job done, and with the help of colorist Dan Jackson, one gets the aesthetic of Vegas ingested with the ease of take out by one inebriated or toasted. Although I will admit that occasionally the covers remind me of a Capcom game. 9.0Funny as Hell.Fun art.Not scary vampires.

The pictures by Evan Shaner are bouncy and colorful. A lot of “playful people getting tossed about and electrocuted” bits. Not my favorite style, as it's very far from bad-ass, but it gets the job done. It doesn't detract, in other words. Once again, Nate from Blambot is colorin' up the joint. He blams it out of the park. Blam-o. Wham, bam, thank you Blambot.

The art is acceptable. I wasn't blown away by it, but it's far from bad. It accomplishes what it needs to. That said, it would have been nice to get an artist who was a bit more impressive. 8.0 The writing is a seamless adaptation from the show.Has some creepy moments.Art is very so-so.

The art continues to serve its purpose, and I've heard likenesses are hard, so bravo on those, as Michael Walsh nails those. It's not incredible, but it doesn't take you out of the story. It does its job, and everything with the weird supernatural guys is fun to see. 8.0 Great story.Fans of The X-Files will be thrilled.Likenesses are good.Art isn't amazing.If you aren't a long time fan of the show, you might need to Google some plot stuff.

However, hardcore X-Philes (I hate the term so much, but it's the most widely used, so sometimes you gotta just say fuck it), will definitely get a kick out of this. Perhaps it might come off as fan fiction, but in all honesty, I'm liking this better than many of the episodes in seasons 8 and 9, and the second movie (don't throw up Sean, wait until the end of the review to throw up). If you want a comic that does The X-Files justice, definitely read The X-Files Season 10.

Michael Walsh's renditions of Mulder, Scully, and The Lone Gunmen still hold up. They didn't, like, randomly get all fat or anything. Walsh's art continues to serve its purpose, and occasionally excels into a neat image or two, but primarily the visual function is to immerse the reader into the preexisting X-Files universe. It does this. While Walsh's art style is very plain Jane, it's far from overtly ugly Jane that can't do likenesses. So, though it may be a little middle of the road, full of traditional proportions and forms, the panels enamor one to their contents.

Yes, it's good, but it moves faster than The Flash on Adderall. Still, it's a wondrous little pretty, so go snag it if you like Edgar Allan Poe, and especially pick it up if you dig Richard Corben. Corben has a great style all his own (even with those huge schnozes.)

As with most one shots of this nature, it seems like a having a one night stand while really drunk. Sure, it's enjoyable, but the next day you can't remember the majority of the events. And you hope you didn't piss the bed while whatsherface was still sleeping next to you. And you wonder why you're in a dress. It's a little flowery for your taste, and you prefer an elegant evening gown. Uh, what I mean to say is, this comic goes by quick, and leaves little impression, but is still fun.

Yeah, it's a fun book. Kind of has that cliche rock vibe, since it most likely won't deal with freebasing heroin and cleaning up dead groupies and keeping it out of the press, but it's a blast to read. I was wondering about a line at the end where they mention in next issue there will be "Deicide in drop D!" There is a death metal band called Deicide, but I don't think this was meant as a shout out to them. Oh, and fair is fair. I listened to Eminem, Foster the People, and Tomahawk while writing this. So, Ragnarok and Roll's playlist is way rockinger than mine.

I've been pleasantly surprised with this series, and this issue was fun. Williamson's dialogue, pacing and general zeal seem to make up for the occasional motion-based confusion which arises every once in a while from Henderson's art. All in all a solid read though, and the art is good enough to get the job done. Excited to see where this one goes.

I admire the shit out of anyone with the stones big enough to release a whole issue almost entirely in Spanish, knowing it will both confuse and piss off a whole lot of readers. It's fucking hilarious! That said" I really have no idea what any of that dialogue was about, other than a vague idea that the giant lizard man likes boobs. Pick it up for a laugh, and for an amazing duet with Tom Waits and Lil Jon (yup, really in there), but don't expect to get most of it unless ye speak espaol.

I had a really hard time rating this. It's funny and sticks to the spirit of the show, but I have no idea what should constitute a good or bad Regular Show comic. I liked it for what it was and it made me laugh, and I want to keep reading, so I guess that's the best thing I could say about it. However, it was kind of boring. It is three issues in, so maybe it's the calm before the storm or something.

Heck yeah it's good. It's over in a flash but has a quality of re-readability that makes it worth a purchase. If you like Regular Show, I'd check it out. And if you like Skips, I'd definitely check it out. My only beef with the issue is that it's very similar to last issue. Still, the issue is wildly entertaining and features time travel, so I can forgive its repetitious nature.

Malhotra's art is understated, and the color is as well. Everything seems somewhat muted, if that makes any sense. It's not terrible, just doesn't seem to pop. But then, the plot is so over the top, the art doesn't need to be all that flashy. 6.5 A heavy plot, which tackles subject matter not easy to swallowA complex main characterArt is underwhelmingThis issue isn't very exciting

It took me until this second issue to realize that I really don't have anything wrong with Vic Malhotra's art style. It's not my favorite, but it certainly isn't terrible. I think the issue is the coloring. Everything has this very washed out, pastel look to it. Still, there are some interesting pages. And one transition that was quite good between a truck in the present, and an army Humvee in the past. 8.0 Great character study.See first hand the grotesque nature of the conflict in the Middle East.Kind of washed out coloring.

Definitely the most exciting issue of all three, but at the end, I can't help but wonder if different coloring and art would have made me enjoy the series more. It's perfectly acceptable art, it just didn't wow me. Same with the coloring; it works, but it doesn't pop. The writing makes up for the mediocre art and coloring though, and if you're a fan of the Joe Hill novella or dramas about the hazards of serving in war (particularly the most current conflicts), it's worth a read.

The bottom line is this issue has its cool, evil dude lines, and some dramatic stuff happens. Even still, I can't help but feel like the dude that used to be the craziest fucking supervillain of them all is kind of a pussbag. I know he was brainwashed and had the evil electrocuted out of him, but still, come on bro! Where is that fire we all saw when you were Madder Red? Although, it is quite odd seeing the “hero” of the comic holding his dead mom in his hands covered in lots of blood. Yet, when you're finished, you just kind of wonder, “well, who cares?” Yes, the established reformed psycho almost cracks, but it's that “almost” that gets ya. He doesn't, and he stays normal, and that's cool, but he better start acting crazy int he next arc or I'm out.

It's okay. Some stories are better than others, but such is to expected in an anthology by different artists and writers. Still, it's a devlishly delicious ride, full of 50s era comicry, and enough alliteration to alienate even the most arduous… fan of horror (damn, couldn't finish strong with a good “a” word to end it!). And far be it from me to knock anything for brevity, but some of these stories almost seem too short. Still, overall, it's a cool collection, and if it's in your budget and you're a horror fan, I'd pick it up. If only to have as reading on the crapper.

Crazy bloody madness, and lots of bees.The attention to detail on the bossoms.Just a minor impression.

Maybe it's because the bar already felt lowered due to the disappointment with the first four issues of In Hell, but this has been one of my favorite issues so far. On the surface it seems like it should be really boring, but it's actually compelling, and ever so slightly moving. The big red guy still has a soft spot for us shaved apes.

Sometimes when we want to support an artist we really love, we sugar coat things, and lie about our feelings. I just don't have it in me to do this. I wish I did, because it'd make my life a lot easier. Menton 3 has become one of my favorite artists, yet I'm tasked by my conscience to tell it like it is. Memory Collectors is incredibly disjointed, and it reads like a writer who I suspected hasn't had a ton of practice with the craft. If he's going to continue to write more comics, Menton needs a bit more practice, or perhaps a little help from a more seasoned comic book writer.

This issue is packed from asshole to teeth with special covers and behind the scenes easter eggs. They alone are definitely worth the price of consumption. As in processing or consuming, not Tuberculosis. 7.5 Rodriguez's art is at its best.Cool shit happens in the Drowning Cave.Anti-climactic resolution.Not enough supernatural elements considering it's been years of hinting at them.

It's all right. I am but one man, and my opinions are but my own. I'm not a huge fan of happy endings, and I'm not a huge fan of the surprise, everything is fine, ending. Hill's musical references kill me inside, and if I have to see one more person who has some kind of mental or physical disorder who is basically an angel, I might claw my eyes out, so I can be in the next Hill novel as the blind guy who saves the day.

Worth a read, but not a hell of a lot happens. Fun, but I've almost immediately forgotten what happened. Still, not a bad way to spend your reading time.

Corben's art style is very distinct, and it lends itself well to these adaptations. However, things do get very cartoony, which is of course Corben'

This is a collaborative failure. I've avoided covering this comic because it's so bad, but what kind of reviewer would I be if I didn't warn you, and tell you about the bad amongst the good?