This issue is nuts. It completely redeems the last two issues, which have essentially been a lead up to this mother. Oh such spoilers I will not give. Such monsters I will not explain. Such folly to assume you can predict where ole' Mignola is going.

The art is unique, and despite its cartoonish quality, I enjoyed it, for the most part. Perhaps this is due to the massive bloodletting. The story has me curious in what direction it's going, and as this series will be a five-parter, I may actually be able to get emotionally invested in Agent Anders and the other characters. Not that we haven't seen him before. It's just nice to see one creator's take on a character for more than two issues.

The art by Dietrich Smith cranks into high gear. His weird mannequin faces are quickly forgot amongst the chaos of reanimated dead, eyeless and speaking in tandem. The atmosphere is great, and most of that is through the backdrop Smith has created. Take this panel as proof of the atmospheric brilliance.

The romantic subplot is a little hamfisted, but otherwise it's a great ending to a great series. Colder has defied my expectations right out of the gate. Starting with that wonderful first cover, it wormed its way into my brain, and has kept my attention until the very last panel. Bravo Tobin and Ferreyra. I tip my hat to you, good sirs.

Guiseppe Camuncoli draws angular people in excellent fashion as usual. The colors by Stefan Landini, Brian Buccellatto, and Sal Sipriano are a lot of dark blues. Fitting, as this is a very somber issue.

And plenty of depressing panels. The most depressing of which being when Kinsey, the daughter, thinks her mother is back on the booze wagon. The Locke mother used to be an alcoholic.

Sorry, JOE Hill writing, and Gabriel Rodriguez illustrating, one doozy of a cave-near-the-ocean rager! Kinsey finds herself in trouble after the prom, and it's not the typical kind where you need a good dry cleaner or the morning after pill. Add to that all sorts of drama with Mama Locke, as she struggles to, well, comprehend things. Plus, danger for Tyler and his Uncle Duncan from things that call the darkness home. Oh, and the special needs dude, Rufus, comes back ready to tear shit up with his robot friend. His robot…friend.

Is quick story, much like Sledge-hammer 44, but engages readers with actions and plot of why mission so important. Pick up issue if you wish for quick battle in Russia, and to hear more of SSS, and perhaps for you to find out what is up with the fish man, Abe Sapien.

As for the writin', what little of it there is intriguing. We get a crazy battle with large explosions and many spent shell casings followed by a bunch of confused American soldiers trying to figure out what to do with a giant robot, which may or may not be a man.

But the noses on these people! Little square nubs on the end, almost like…well I have no idea what they're like, they are just square! They look weird, especially from the side.

An enjoyable, short little run in the BPRD line up. It has a Conan flair to it. A very heavy fantasy vibe. The art is great, and the plot is cool. While time travel is derivative, as are fighting with a sacred weapon frankly, you can get past this and still enjoy the book for what it is. And what it is is a fun little visit to the past, with a random BPRD agent.

Kyle Hotz does an excellent job. He draws spectacular monsters. Unnerving, tentacley, gilly humanoid and non-humanoid monsters. The colors pop, in a lot of neon greens, and purples. So, all praise is due for Dan Brown.

His art reminds me of Clive Barker at his best. Things which disturb you on a deep, psychological level. Beasts which have too many eyes or hands. It always warms my black heart to see new monsters, and Ferreyra draws the best I've seen in many moons.

Fiumara saves this one from being just another in an amazingly vast amount of B.P.R.D. forgettables as of late. That's not to say they aren't all entertaining, but honestly, the way he draws Abe"and people in general"sticks with you. He draws an impressive Abe Sapien. It may be my favorite depiction of Abe yet.

So many B.P.R.D. series. They just keep going. And going. So"many"of"them. But we loves them all. So many monsters for us. Mike Mignola and John Arcudi continue to play the keys, with lines and forms by Peter Snejbjerg.

The plot is split between Tim Seeley and Joshua Scott Emmons. I'm assuming Emmons does most of the leg work, as Seeley also does the art. It's an interesting plot, a nice little mystery woven into some very obvious excuses for a vampire and a hot serial killer woman to make whoopee. At least these characters are characterized, if only a little bit. It makes you care a little more about them. And they're very interesting people, well, an interesting person and an interesting monster in human appearance I should say.

Chasing the Dead is a solid series. By and large the art is creepy, even when it isn't trying to be (see non-zombie face above). The real reason to dig into this series is for eyeless talking corpses with funked up teeth, the mystery of the plot, and the atmosphere of a stormy winter night in New England. The pacing is quick as a bunny in this issue, and I'd still recommend picking up the first two if you have the extra scratch. They aren't nearly as fast though. The rating isn't higher due to a bit of confusion in terms of the plot. Characters are introduced with little to no characterization, so for instance, that woman without the eyes above. House keeper? Secretary for Susan who works in Boston as a business woman? I honestly can't remember. Bottom line, come for unique zombies, and stay for the mystery.

So, is this bitch good? Yeah, but it can get confusing. The plot is almost wholly reliant upon being up to date with the happenings in the current 30 Days arc as well as the latest issues of Criminal Macabre. For instance, if you haven't kept up to date, you probably didn't know Cal died and became a ghoul. So it would have been nice if this one could have stood on its own. That said, if you're up to date, it's a real treat that ties the current universes together. Mitten's unique art style"much like Templesmith's"adds a fascinating bite to this vampire/monster hunter tale.

So, is it Good? Not really. It ends too quickly, like a recently released prisoner with the first prossy he can pay. The action moves switfly, but it seems to be sound and fury signifying nothing. However, if you can see past all sorts of intriguing questions just sort of glossed over in two pages with half-assed answers, than by all means, read the last issue of Exsanguine.

The art is fantastic, don't get me wrong. And it's not a terrible comic, or even a terrible arc. But it's not the jaw-dropping, amazeballs, piss ya pants awesomefest most of us have waited for. It's like waiting a whole day for a feast, and then getting a platter of chicken fingers. Sure, you'll eat it, you've been hungry all day. But it's not the bounty you expected, nor is it fair to wait for so long for something so underwhelming.