Overall, while the art, particularly in terms of Farinas kaiju, is charming, the script just doesnt live up to the genres and popular culture references its trying to emulate. As a one-shot, its forgivable, and even interesting in parts; but as an expanded upon universe? Not sure itll do well.

Unfortunately, because the stories are so short, its almost impossible to invest any real feelings toward the characters when the narratives are as condensed as they are. And while still cheaper than the price of two comic books, $5 might be a bit too steep for this particular product. Overall, Id recommend Symptom of the Universe for both script and art, but “Bloodlust: Deceiver of the Gods” doesnt cut it (regardless of the Vampires vs. Vikings subject matter).

Fortunately, there's some slightly meaningful character development regarding Spike's wanderer spirit and sense of home/belonging, and the series closes with an interesting cameo from a fan-favourite character that sets up Spikes next adventure in London, England. Goodbye bugs, hello Angel & Faith.

The Dream Merchant #1, though built on a solid foundation, is not executed as well as it should be. There are moments where the dialogue doesnt flow, instances where dream knowledge seems forced, and an unfortunate out-of-place Native American cultural appropriation that the issue could have done without. Besides all that, the series does have potential, so heres hoping for an improved #2.

The Dream Merchant #2 still hasnt hit all the marks just yet, but Edmondsons creative vision when it comes to philosophical discourse and story development is admirable.

Winslow, Anne, and the Merchant of Dreams will continue to gear up for the regulators invasion in the next issue, but their activities have caught the attention of local police and Homeland Security. Its evident that Edmondsons building up to something bigger than what readers previously anticipated. Hopefully, he delivers.

Overall, The Last of Us: American Dreams is a series derived from favourable circumstances. The video game is doing so well in the mainstream market, garnering critical acclaim from all directions; a comic book series would definitely succeed in reaching out to that same audience. Of course the fandom would be interested in a series thats made to expand the universe thats captivated (and is still captivating) them. Its a smart move by everyone involved. Will this series speak to those unfamiliar with the video game? Maybe, but definitely not to the same extent.

Womanthology: Space #5 is the final issue of another successful large-scale anthological endeavor showcasing the works of women in comics.

Victor Gischler writes a pretty depressing issue, but it's also filled with comic relief. Surprisingly there is a lot of laugh-out-loud natural humor in this issue. Especially with Lee on board to draw Spike's specific facial expressions to match his internal monologues perfectly. It all comes together quite well for a great first issue.

Victor Gischler nails the voice of Spike, whose TV-verse swagger just drips off of him with every piece of dialogue. The art, by Paul Lee on pencils and Andy Owens on inks, helps tremendously in painting that cool image of Spike on paper. Unfortunately, where Lee excels at drawing Spike to look identical to James Marsters, the bug/fish-like alien demons from space are almost a little too comical to be taken seriously. Its not hard to understand why this mini-series is a hit-or-miss among the Buffy fandom, but the unfolding story runs so smoothly, it makes up for the ridiculousness of the plot.

Overall, Spikes sarcastic retorts and his affinity for dark humor is handled really well, but the British slang placed in the dialogue comes off as forced. The third installment brings about less action on the pages but more dialogue and self-reflective monologues from our male protagonist. In terms of the artwork, Paul Lee continues to deliver uncanny likeness to the already established characters from the franchise on pencils; and Andy Owens remains consistent with his inks.

Overall, issue #4 is a vast improvement on the previous 2 installments, especially with Lee on board to draw Spike and Morgan. Their facial expressions are expressive to a hilarious intent in certain panels, and it definitely helps Gischlers script come to life. With Spikes loyal bug minion, Frisky gearing up to take action against Morgan, heres hoping the conclusion to the series will lead to something significant to the "Season 9" arc, and not something anticlimactic.

In terms of the visual aesthetic of the one-shot, the dark and chilling atmosphere, common in most gothic horror tales, is presented perfectly through Ben Stenbeck's pencils, as he provides a stylistically old-fashioned take on Mignola and Golden's world, evoking the somber tone of the story. He draws early 20th century era demons and vampires in a way that is unique to his creative style, which is only enriched by Dave Stewart's colours. The latter's use of dark tones and ashen hues fits the overall feel of the series remarkably well, but his best panels are arguably the ones which feature the rare splashes of overpowering reds.

There is a lot of action in this installment and hopefully more will be seen in the one to follow. Especially when taking into account the shocking betrayal at the end of the issue. Buffy is going to go ape shit in Part III!

Disregarding some continuity errors surrounding zompires and their apparent ability to enter houses without being invited in, this was a nice break from regular Season 9 programming. Though why they decided to put these two issues in the middle of the series when it should have been a Tales of the Slayers one-shot or an Annual is beyond me. Whether Billy will fare well as an ongoing character is still debateable, but for what this standalone is worth, its an admirable start.

There is a slow and steady build up to the end of this issue, but by the time Chambliss gets there, you dont want to put the book down. Especially with the return of Illyria! Unlike Buffy, Illyria still has access to her powers, and in the middle of a major zompire battle, she teleports Buffy to L.A. Things are far worse than before due to the destruction of the Seed. Because of this, Illyria gives her no choice, Join us, or perish. Join who, or what? Youll have to pick up next months issue to find out.

Interestingly enough, even though I'm left completely underwhelmed by Georges Jeanty's illustrations in this arc, my favourite part of the issue is his first panel depicting the mystical council. Not only for the wonderful surprise cameo that fans will love, but for the overall idea behind a council of witches, demons, mystics, and deities who still retain their powers, coming together to protect what little mystical energy is left on Earth. It's just awesome in both script and art.

Anticipation for next months issue is rising due to all the dramatic build-up this installment has to offer. Definitely looking forward to it.

In terms of art, Karl Moline has taken over for Georges Jeanty, and its a nice change of pace. He, along with inkers Andy Owens, Dexter Vines, and Michelle Madsen on colours, work really well together, particularly in the flashback and reunion scenes. Emotionally driven moments are where they excel the most.

All that said, this installment is very enjoyable, and the fandom will eat it up.

Overall, Chambliss and co deliver an entertaining issue that will successfully ensure the fandoms thirst for the final installment. Assuming the brutaly graphic last page doesnt put them in a rage coma.

The gang has resolved what they set out to resolve, but at what cost? Readers will be left speculating about possible scenarios for next season, and curious about the ever evolving vampire mythology of the series once getting to the final panel of the book.

"Crawling Sky" raises my interest for horror-western fiction in a strangely surprising way. Coming into the series with no expectations, I'm left craving the next installment. Though, I'll admit that it's probably hit or miss for consumers, both Lansdale's and Denham's ability to simultaneously shock and charm readers with their writing and art, is a good enough reason to check this book out.

Overall, Crawling Sky #2 suffers for the pacing of its narrative, but Brian Denham effectively pushes the story along with his pencils. Admittedly, the final panel leading into the next installment is thrilling, as readers are offered a glimpse of the monstrous demon that Mercer and Norville will be facing in Part 3.

All in all, Doomsday.1 #1 doesnt offer much in terms of innovating the End of the World trope, but it has the potential to take readers on a dramatically engaging adventure with all the stories its weaving. Clich as they may be, the characters are surprisingly, and refreshingly, diverse. Readers will be looking forward to discovering more about them, as well as what remains on post-apocalyptic planet Earth.

While The End of the World as We Know It trope is probably one of the most common aspects of Speculative Fiction, a full cast of ethnically diverse atheists is not. In fact, Aclins S.H.O.O.T. First might be the first of its kind. The first installment ends on an unexpected cliffhanger, but not before dropping a major plot twist on the readers to ensure their continued interest in Part 2.

Arguably the best addition in this collection is Haeser and Hassons Tears of a Clown, which follows The Living Corpses first meeting with a suicidal Mumbles the Clown. Created by Rob Dimension, but written and illustrated by Haeser and Hasson, this piece makes for a fantastically gritty end to the book. How these artists can pull off two completely different styles of art from their opening story to their last is remarkable. As if drawn and rendered on sandpaper, the rough and harsh tone of the art translates exceptionally well with the narrative; and Smith delivers his best work utilizing a colour palette that perfectly fits the mood of the story.

Sadly, while still being an interesting and worth-while issue, this installment doesn't quit hit my high expectations, though I do believe its a necessary filler to set up the remainder of the series for what looks like an epic finale.

Like last months installment, Brian Chings pencils and Michelle Madsens colours do not particularly meet the quality that were used to from these two artists, but the panels showcasing Willows inner-monologue and the entrance of Dark Willow are beautifully drawn and delicately coloured. Also like last months installment, Part 4 doesnt live up to the high quality presented in the first two issues, but the set up for Part 5s conclusion couldnt be any more exciting and detrimental to the future of the BuffyVerse, so it's an issue that can't be missed.

Youll have to pick up the final installment to truly appreciate such a satisfying, yet vastly open end; not only for the Willow fans, but for the Buffy fandom in general, as it ties directly to Season 9s narrative and future of the verse. The two stunning covers by David Mack and Megan Lara are just a bonus.

McKeevers artwork remains consistent, in that he continues to draw with an instinctually raw style, forgoing a colour palette, and merely relying on his powerfully heavy, but clean black line and shading work to bring his illustrations to life. His ability to take readers on a journey from panels of divine artistry, to pages of disturbing imagery, only goes to show the depths of his talents as he effectively portrays the inner workings of Chomskys tormented mind. While McKeevers style unfortunately serves the hit-or-miss market, his work honestly suits the overall tone and themes of the series well, and should definitely be checked out.

Buy the single issue for McKeevers amazing cover art, and wait until the series is collected in a trade to read it in all its bizarre glory. It will probably make for a better reading and visual experience.

The final page of this installment is as bizarre and confusing as one would expect, considering McKeevers established universe. Readers will definitely be scratching their heads, wondering what the last issue has in store for the tormented protagonist.

Overall, “'68: Jungle Jim” #1 is riot and a half that delivers bloody action, and a super fun visual experience.

Criminal Macabre/30 Days of Night: Final Night is a delicious treat for fans of both series, and a wonderfully constructed pulp noir horror book; its just shame one of these titles is over. Youll have to pick up the final installment to see which one.

Niles writes these characters, and presents the naturally paced narrative in a way thats not overbearingly expository, but thoroughly engaging; and Mitten's art continues to produce a perfectly gritty atmosphere to his entertaining script. They feed of each others talents really well, and deliver another commendable installment to the Criminal Macabre repertoire.

Issue #1 is definitely off to a great start. With help from her quartet of havoc-wreaking black cats, Emily is hell-bent on creating the most rockin song the world has ever heard, in order to win the legendary haunted guitar owned by the late Professa Kraken, a musician who died under mysterious circumstances. Only trouble is, she needs a band to be able to win the prize. Can she go it alone, or succumb to the interests of a young musical prodigy named Evan Stranger, who just wants to put a band together to rock out to his hearts content? Pick up a copy to find out, but just know that she does not play well with others.

Paul Jenkins writing brings a whole new perspective to traditional fairy tales with his charming re-imagining of the original stories. Its obvious that he has a firm understanding of the quintessential aspects the genre needs to appeal to the masses, as he scribes a light-hearted adventure tale, with slightly sinister undertones, that will leave readers wanting more.

#3 comes out next month, and theres no doubt Raven Gregory and team will deliver an even better issue. "Wonderland" is definitely a series to look out for.

Issue #3 features Jack Coles Hangmans Horror, Myron Fass The Thing in the Pool, Rod Palais Weird Worlds, Paul Gattuso and Sheldon Moldoffs The Eyes in his Hand, Haunt from the Sea, attributed by Iger Shop, and Ross Andrus One Mans Poison.

If you like your Hellboy with a rather large side helping of adorable, “Itty Bitty Hellboy” is your jam.

It's a solid first issue which delves into the origins of how Roy comes to work for R.I.P.D.; its a great starting point for new readers who are interested in the Film. Parkers renderings add to the script, and bring Barlows vision alive with his superb visual storytelling. Even though it feels like the background story is compressed into insufficient space, the premise is still refreshing, and Im looking forward to the next installment.

Barlow is doing a terrific job re-establishing Peter Lenkovs world, and giving readers a chance to go deeper into the R.I.P.D.s history. His vision of this warped and anachronistic old west is nothing but creative, and his quick-paced narrative only adds to the excitement of the issue. I have high hopes for the issue #3.

The creative team delivers a thrilling issue thats jam-packed with elements of humor, horror, action and plot development; but the accelerated speed in which the narrative is told will almost make readers feel as though the issue is abridged. On the other hand, this could be the impatience for next months installment talking.

The way the issue ties back to the opening scenes of the first installment gives full contentment to the consumers in regards to the gratification readers will feel as they finish the series, but leaves a big question unanswered in the end. Whether or not its going to be elaborated on in the upcoming film, its hard to say and you'll have to wait until summer to find out.

Zombie enthusiasts should definitely check this series out. If not for the well-crafted, relatable characters and their individual zombie plague stories, or Keene's premise that flipped the zombie apocalypse genre on its head; then for the baby buffet massacre. Delicious.

The latest Occultist series is shaping up to be another hit for Dark Horse Comics, and is proving to be a commendable addition to the superhero genre.

Umbral #1 proves to be another successful comics endeavor for Johnston and Mitten, and highlights many of the typical core elements of the high fantasy genre. Looking forward to more.

Overall, "Vampirella vs. Fluffy" is a comic book that offers Vampi fans (and Whedonites with a sense of humor), another entertaining adventure to add to their pull list. Though, its hard to say if those unfamiliar with Buffy the Vampire Slayer will get much out of it.

"Buffy the Vampire Slayer Season 10" #1 is an A+ accomplishment on all accounts, and the fandom couldnt have asked for a better creative team behind the pages.

Multi-award winning artist, Richard Corben graces the pages of Buffy Season 10 #8 with a 3-page flashback feature focusing on this issues Demon of theWeekMonth (the physical appearance of which was inspired by his cover art for Warren Magazine's

In both situations, sobering conversations about the nature of accountability and personal responsibility for significant past events and errors in judgement take place amidst the chaos, that may ultimately provide some sense of long-overdue closure for the characters, as well as many readers. Spikes fears of reverting back to a soulless vampire, due to the monsters ability to devour souls, force him to share his negative though enlightened perspective on his controversial involvement with Buffy in Season 6. Andrews need to assuage his guilt over the events leading up to Taras death, and consequently, the rise ofDark Willow, though seemingly honourable, is really just a selfish means to diminish his shame and remorse, as well as an ill-advised attempt to regain lost trust. His acknowledgement of culpability is respectable, but the blatant weakness of character makes it difficult for him to see wrong from right w

Visually speaking, its a really solid issue; specifically in regards to the panels depicting Spikes unfortunate predicament with the returning characters and theVampyrbook. Rebekah Isaacs nails the hilarious scenes Gage describes in his script, illustrating even better the level of absurdity reached by this story. Honestly, there is only so much praise I can lavish on Isaacs every month before it becomes obnoxiously repetitiveand slightly awkward for everyone involvedbut she is consistently on the mone

Overall, "Buffy Season 10" has been a consistently good ride and a brilliantly developed series so far; an accomplishment that can only be attributed to Gage and the rest of the creative team's successful collaborative work. Be sure to pick up "Love Dares You"Part One when it hits shelves next week. It's Buffy's birthday after all.

Not sure where the creative team is going to take the series at this point, but Ghosted #1 leans more towards a psychological, supernatural-crime series than it does the horror genre, though some elements are still present. Hopefully therell be some gnarly blood and guts to look forward to in future issues. Just personal preference!

Overall, “Ghosted” #2 is a fun book that plays into the main elements of the heist genre, but brings something different to the table as well. The twist on the last page will solidify reader investment in the series. If Williamson and Sudzuka end each chapter as epically as they did the first two, readers are in for an awesome treat.

He and Sudzuka have a knack for ending each issue on an extremely high note and Ghosted #3 is no different. The last 7 pages steal the show with an increased focus on horror, something thats been in the undertone of the series until now. Williamson sets up a crazy cliffhanger ending that will, again, solidify most readers interest.

The art by Sudzuka, with the help of colorist Miroslav Mrva, achieves a level of atmosphere both inviting, and foreboding. Illustrating mostly darkened interiors within the Trask Mansion, Sudzuka and Mrva create an environment of impending danger, layering on the shadows, and forgoing a lighter palette, as usual. The artists creepy interpretation of a character possessed by an evil spirit is perfect, and fits the horror genre well. His last three pages are of particular note as well. They show an abundance of fantastically drawn spirits, swooping and gliding through the walls and emerging from the ground in an eerily intimidating fashion. Nighttime at the Trask Mansion is going to be wickedly frightening now that horror has taken the front seat. The next installment cant come soon enough.

Now that the first arc is complete, readers will be able to enjoy the series in all its uninterrupted glory once the trade paperback hits shelves next month.

There are some challenging moments in this issue that Maya experiences, not only physically, but mentally as well. The emotional impact involved for both Maya and the reader is authentic, and makes this well worth a read. So I implore you; give this series a try, lest it becomes another Green Wake.

Its disappointing to think that there are only 2 issues left, and Im really hoping the public respond to it well in the off chance Wiebe and Rossmo decide to turn it into an ongoing series (“Green Wake” round two?). I want more of Maya kicking colossal ass in my life.

From panel to panel, Rossmos art is unsurprisingly superb; particularly regarding the colossals and action scenes littering the majority of the pages. Even his approach to linework and detail seems to have improved. But whats truly impressive in issue #3 is Owen Gienis colouring scheme. Hes definitely the star of this issue. His vibrant take on Wiebes post-apocalyptic world is a significant reason why Debris is such visually alluring comic. I can only begin imagine what Wiebe, Rossmo, and Co. have in-store for the finale.

Its sad to say goodbye to a fearless, strong, and determined female protagonist like Maya. Shes a champion, a saviour of humankind, shes the real deal!

Honestly, the basic concept of pitting supernatural beings against each other, in a desperate fight for power and control, is hardly an inspired one. Especially considering the clichd setting in which the author and artist are constructing their dark fantasy world. But there's a finely developed sense of environment and world-building " which Gischler displays in the series opener " that will spark the readers' interest. There's also a curious cast of otherworldly characters, caught in the author's action-packed thrill ride of a narrative, who will ensure their investment.

Gischler isnt particularly forthcoming about certain unanswered questions that were raised in both installments, but he appears to be in his element when writing on the themes of a subculture of individuals living outside of normal (human) society. Ferreyras work is as consistently good as its always been. With assisted colours from Eduardo Ferreyra, the two keep the tone of the issue dark, mysterious, and perfectly suited for Gischlers world.

There's only two more issues set for release, so Kiss Me, Satan! #3 manages to really push the narrative forward and set the stage for the beginning of what is gearing up to be a bloody and exciting end.

The first installment of Rat Queens sets a high standard for the rest of the series and is a perfect introduction to Wiebe and Upchurchs darkly comedic, action-adventure fantasy world. Though an amusing and unquestionably fun read, the issue promises more bloodshed and potentially sinister story developments in the upcoming chapters. Definitely a series worth checking out.

Starting with Rat Queens #3, the creative team will be incorporating a letters column into the books, so direct your love and affection to this email address: theratqueens@gmail.com

Overall, Kurtis J. Wiebe and Roc Upchurch express a deep purposefulness toward the "Rat Queens" narrative " in both script and art " that runs counter to the hyper-sexualised, half-baked nature of most female-driven fantasy comics. Moreover, their work is engaging, entertaining, and downright badass. So for that, I can't recommend this book enough.

Straczynski and Templesmith have proven to be a perfect match for a series like this one, and readers should expect great things from the upcoming installments.

“Ten Grand” #2 is a pleasure to read, and if theres one book that needs to be on your pull list this year, its this one.

Overall, Ten Grand #4 is a satisfying installment in terms of writing and art. It successfully manages to engage readers with each turn of the page and generates excitement for the next release.

Templesmith is definitely going to be missed. But as long as Straczynski continues to flesh out amazingly written installments that keep his readers on their toes, and C.P. Smith continues to immerse himself in Straczynskis universe in order to effectively bring his story to life with absolute clarity, then Ten Grand will remain one of the better series of 2013.

Ten Grand continues to be one of the best books on the shelves today, and arguably one of the most unpredictable as well. Whatever Straczynski has planned for the remainder of the arc, who really knows? But its going to be super entertaining regardless.

All in all, Amalas Blade seems like its going to be another hit for Dark Horse, and the first issue is definitely one worth buying for those interested in steampunk fantasy epics with ass-kicking female protagonists. Though, a little more ass-kicking would have been appreciated. Personal taste of course. No doubt there will be more in the coming installments.

The last few pages are probably the most intense in terms of dramatically paced action scenes, narrative progression, and reader speculation regarding Lady Strawbales true identity. With only two more issues left, its hard to see where Horton is going to take the series, especially considering the fact that Amalas target is the answer to bringing peace to Naamaron. So much seems to be going on, and there are still many questions that remain unanswered, but if the first two installments are any indication, the last two will surely deliver. Heres hoping both Horton and Dialynas have more in store for Amala beyond this Dark Horse mini.

As far as lead characters go, theres still so much to learn about Amala than is provided in these pages, but Horton does an impressive job creating a likeable character that possesses such questionably unlikeable traits. Heres hoping both writer and artist have more Amala goodies up their sleeve because one more issue doesnt seem like enough.

David Murdochs Lucas is deeply disturbing. After all, the best novels and films in the horror genre dont exist to just frighten us, but to explore the darker urges, taboos, fears, and repressed human desires found in people, and then purging them from our subconscious thoughts. This graphic novel brings about a brutal truth: that unfathomable evil simply exists in our world, overpowering our ability to battle or understand it. At least, not like Lucas can.