Horror fans have a great one to catch up with if they haven't made the trip to the House.

As has been the cast this entire time, Ultimate Black Panther is at its best when setting itself apart, and that remains true here.

Series artist Iban Coello continues to do great work with the varied characters and symbiotes that are present, this time wrapping up the issue with perhaps its best final page yet.

Spectacular visuals continue to collide with a personal take on a classic hero, making this a secret dark horse for one the best books out of the new X-Men.

This continues to be a special book.

As many of these Marvel anthology books go, the stories are a mixed bag, but the ones found in Spider-Man: Black Suit & Blood are all tackling the theme of the title in unique ways.

This is a fine starting point and one where hopefully the gas pedal can be pressed on moving forward.

Witchblade remains a fun new chapter for longtime fans but also newcomers that have no idea what any of this is.

So far this is shaping up to be a book that longtime fans will enjoy but which newcomers can also embrace.

Caselli is given the task of depicting war at its most gruesome with the impact of the imagery being felt across its many gruesome panels.

This is a fun one, even if Dylan remains mostly a one note character.

The new Phoenix series continues to impress by not only fully embracing the bugnuts potential at its disposal.

There's an on-the-nose style that makes the writing a little grating in Plastic: Death and Dolls, it seems to be operating solely at a level of aesthetic assumption, with archetypes in characters and story that are present because they're "supposed to be there." It's quickly growing thin.

Series writer Kelly Thompson not only knows how to fit into the rhythm of what would be a PPG episode but is self aware enough to realize that an issue with an unconventional villain plan and minimal fighting is actually pretty par for the course.

Ultimate Spider-Man is the king of Marvel Comics right now. Long live the king.

Despite the necessity of the first issue's origin story podling, Witchblade #2 is the real starting point, and it's awesome.

Johnny Quest #1 picks up after the Free Comic Book Day special which is typically not the kind of thing to leave readers lost, but there are times where writer Joe Casey doesn't always make things super clear.

Is it entirely clear at all times what exactly is going on in Precious Metal #3? Not really, which may certainly turn off some viewers, but when I became confused I simply allowed the vibes of the series to carry me.

As convoluted as this new Venom arc has been at times, the "Venom War" crossover is shaping up to be one with interesting ideas at the least.

Writers Collin Kelly & Jackson Lanzing stretch the willing suspension of disbelief over this Venom War tie-in and its place in the larger story, but do great work with the characterization of Venom and Peter Parker reunited.

The first two issues of Canto's final cycle have been battle centric, but now with that big moment passed in the narrative the series finds its footing in a slower-paced issue that keeps the strong storytelling going.

Readers will see this ending for what it is, a celebration that keeps things set for the next writer, and this may be one of the better versions of that in years.

. Promise continues to peek its head out in Ultimate Black Panther, but why won't it let its ideas loose?

Venom War is the rare event series that really builds upon everything that came before it. Not only are all of Venom's hosts over the years acknowledged to a degree, but the many facets of his own characterization in that same time is understood to have been pivotal to reaching this point.

Drawing Blood has crossed the Rubicon of its own meta-awareness in the latest issue, not only bringing in series co-creator Kevin Eastman for a cameo, but making the entire story a thinly veiled remix of something that actually happened with the creator and the Teenage Mutant Ninja Turtles franchise. It's fine, but makes you stop and think, what are they actually trying to do with this?

. On the whole this was the perfect Marvel event to revive this team, but it squandered its potential.

The day that the new Ultimate Spider-Man isn't the best comic book we're reading every month will be when you should take notice, but for now it's still at the top.

A stirring final page in Masters of the Universe: Revolution #3 serves as the kind of bombastic storytelling that could define the entire series, but sadly does not.

Even knowing what happened in Nemesis Reloaded and Big Game won't make this somehow more exciting either; in fact, it might make the impact of those particular stories, whatever they might have had, feel lessened.

Ultimate Black Panther approaches the precipice of something really unique in its latest issue, having up to this point mostly been only marginally different from what we might expect from Earth-616's Black Panther rather than a radical reinvention.

Series writer David Michelinie has an interesting idea for a plot here but the old-school style of filling up every panel with gigantic world balloons brings this one down, especially when the art is what's really selling it.

The final issue of Fishflies checks all of the boxes you could want from a Lemire story with unique imagery and a melancholic narrative that all wrap up with just a hint of optimism.

As Marvel's new X-Men initiative continues to roll out it's surprising that a solo book like this new Phoenix title would be among the initial wave, but after reading it it's clear that a concise vision of the character and a strong debut made it perfect for the first batch.

Scribe Doug Wagner has something interesting here with the lead character but there's limited actual story in this month's issue.

Longtime viewers will be excited to see not only the care put into adapting that storytelling style into a new medium but also filling it with plenty of winks, nods, and Easter eggs along the way.

There's not a lot going on here that you haven't already seen in one of his other Rocketeer comics, which is unfortunate as so many others have felt fresh and inventive.

This new series, hailing from writer Marguerite Bennet and artist Giuseppe Cafaro, brings back New York City detective Sara Pezzini as its lead and is a back-to-basics take on the material. However, the new Witchblade succeeds by not trying to emulate the 1990s version; it's more interested in just looking ahead and trying to forge its own path, even if the franchise it's building on houses layers of tedious world building.

It's easy to get lost in a larger event when a series has to suddenly shift gears for a tie-in, but the team behind The Incredible Hulk have delivered the best of both worlds.

It's still not entirely clear what exactly the titular Moon Man is capable of doing, but that doesn't mean it's not cool as hell to look at.

Those hoping for an easy-breezy tale may find themselves lost by the swath of unique vocabulary and environments in Precious Metal but it's a rewarding series for readers eager to get lost in its dense narrative.

It's no surprise that Canto is building toward a major conclusion, but the second issue confirms the massive canvas that the team has created for the story.

This one is a hoot, and will keep readers happy while the Blood Hunt carries on.

Todd McFarlane is credited with the script/plot ( Jon Goff has a "co-plot") credit, and this latest issue is another misfire that feels like a first draft with no notes.

This one is not only something for fans of cheeky horror but anyone eager to really appreciate the comic book form when executed at a high level.

Al Ewing's work on Venom began as a galaxy-brained science fiction epic, bleeding across time and rewriting what we thought we knew about characters we met just issues ago. Somehow along the way it has become trapped in an endless cycle of tie-ins to other comics, so much so that it feels like it's lost the promise it had so many months ago.

Scribe Jed MacKay brings a very heady concept to what amounts to a crossover tie-in book, digging deep into both Marvel lore and a huge out of the box idea that feel like they're hitting above their weight class.

This one is a true team effort that, while slow at times, is hitting above its weight.

This is proof that you can make a story in a major universe with an A-list character and just do your thing, and it can be both rewarding and the readership will flock to it.

On the whole this is one with niche appeal, but those eager for something with a big scope and a unique take on magic will have something to look forward to.

The new Venom: Separation Anxiety from David Michelinie remains a return to form of a specific era, and while many readers may not vibe with its extremely wordy plotting, it evokes a very specific style of Marvel Comics.

The final issue of Oni's adaptation of the Barry Gifford novel comes to a close in a messy way, which reflects the subject matter in a satisfying way.

Series artist Daniel Hillyard does impressive work with the carnage on display in Plastic: Death & Dolls, but he can't overcome goofy storytelling baked in at the writing.

. Even readers that haven't been along for the ride will find soulfulness in the storytelling here, but those that have walked the road from the beginning will be excited about its last turns.

Series scribes Christopher Golden and Tim Lebbon set up the endgame of the story in a fun way, though there is a moment that the comic has been building to that feels partially bungled, a minor gripe in a series that has largely been home runs.

Bertram's artwork is like a primal scream that has taken form, delivering shapes and lines in one splash page that outpace some entire comics.

Writer Al Ewing and artist Juan Ferreyra deliver another knockout issue of Venom, which makes you not only forget that it's a tie-in to a big event but rewards the reader for realizing by story's end this was also a building block to something else.

Drawing Blood isn't necessarily "must read" territory but it's something that TMNT fans will find mighty interesting to linger on considering Eastman's entire career.

The real sell for the book is art by Germn Peralta and colors by Arthur Hesli, which evoke a specific kind of horror movie mood, building the world out in a colorful way before soaking it in blood and fire.

A fine conclusion to a story that has often meandered through its plot, The Bloody Dozen's final chapter is saved by Alberto Jimnez Alburquerque delivering dynamic splash pages.

It's frankly not fair to the rest of the comic book world that Ultimate Spider-Man is this good.

A poorly conceived story that offers almost no insight into its lead character is par for the course when it comes to most of McFarlane's titles, but when now that he's stretched the Spawn universe into nearly a dozen titles it's becoming glaringly obvious how thinly held together the entire prospect is.

This is maybe the best issue yet of Ultimate Black Panther, and Caselli's artwork, featuring colors by David Curiel, is a major selling point.

Though the X-Men '97 comic tie-in mostly stays in its line, functioning so that it never steps on the toes of the animated series and is able to get you excited about that, the latest issue brings in an element that it was missing, mundane familiarity among the mutants.

The Alien: Black, White & Blood anthology concludes with another set of unique chapters for the franchise.

This is a comic for mostly die-hards though, which isn't a bad thing, but don't expect you can pick this up with just a cursory knowledge of Masters of the Universe.

As to be expected, scribe David Michelinie has come up with a unique plot for a new Venom storyline which, like most of his recent output, feels like a throwback to a specific era of Marvel Comics down to the wordiness of it all (your mileage of course will vary for this 90s nostalgia).

Weapon X-Men concludes its run with an ending you can see coming a mile away, which doesn't mean the execution is lacking but rather that it makes the entire journey itself feel uninspired.

Cynically we have been trained by comic book crossover events to seek out every tie-in no matter the direct connection, luckily for readers, Doctor Strange #15 is a worthy addendum to Blood Hunt #1 that arrived last week.

Color artist Ronda Pattison is able to capture mood and tone with their contributions to the series, elevating the already unique style of Artyom Topilin and making this a delight to read on the whole.

A must read by an artist that has hit a homerun.

Charm has cracked fun characters that are fastened into a plot with unlimited potential, and paneling that clearly defines his narrative, plus color that pops with each page. This is a must read for anyone after a unique horror style and a purely fun read.

Writer Christos Gage finally has some fun with the format but it's clear that even just three issues in that this team of just Wolverines sounded better on paper than in execution.

On the whole Drawing Blood is a pretty standard crime comic, though with a veneer of pop culture hanging above it that clearly comes from a very personal place for Kevin Eastman (who co-created with writer David Avallone).

Though scribe Charles Soule juggles the deep character beats, it's the staging of the action by artist Alberto Jimnez Alburquerque that makes this one fun to read.

In case it wasn't clear that the new Ultimate Spider-Man comic is a clinic in storytelling, writer Jonathan Hickman has no action in issue #4 and instead uses it for two sequences that are exclusively dialogue. It's captivating from the first panel and the foundation of these characters that he's developing remains all-timer stuff.

Tony Fleecs continues to pave an amazing path forward for Army of Darkness comics, revealing that there is still life to be found in the franchise.

Zoe Thorogood sticks the landing in a big way with Hack/Slash: Back to School, ending the story on a note that cements its place into the canon without undoing anything else before or after it.

Scott Mescudi and Kyle Higgins pen the script for Moon Man, which goes heavy on its exposition in the first half to a somewhat detrimental degree.

Sam and Twitch: Case Files is proof that Todd McFarlane is stretched too thin. As if having your hand in 10 different Spawn titles didn't already look exhausting, almost nothing happens throughout the issue and what does is something you've seen before.

Despite a first issue that seemed to maintain the status quo, writer Bryan Hill has managed to find a unique path for this version of Black Panther as the series has continued and issue #3 keeps this going.

Stephen Graham Jones delivers an uppercut of an ensign for Earthdivers that has surprises on almost every page.

Writer Chris Condon continues to do good work sorting the tangled web of Barry Gifford's novel into a comic adaptation, though the full scope of this issue's tale isn't fully revealed until its final pages, which makes the journey a bit of a slog.

If it was not immediately clear that Weapon X-Men is just Exiles with a new name, Weapon X-Men #2 would confirm it.

Like the first issue before it, X-Men '97 is content to color inside the lines and doesn't offer much beyond what readers expect from a tie-in title.

The ongoing story in the pages of Alien: Black, White, and Blood from writers Collin Kelly & Jackson Lanzing and artist Michael Dowling remains its most interesting as it explores a side of storytelling this franchise would never dare even attempt in live-action, a bold and deeply political allegory that feels fresh and frightening.

Previously published in the pages of the Image! 30th anniversary anthology, this crossover of Hack/Slash with classic Image characters spends the bulk of its narrative being more appealing to fans of the latter than the former.

Christopher Golden and Tim Lebbon's wildly unique take on Dracula continues to impress, especially as it delves even further from the source material and forces itself to bend into new shapes and strive for new storylines.

This is the sort of galaxy-brained Venom story that makes the character stand apart.

Even knowing who Sam and Twitch are in the larger Spawn universe, this new series starring the characters is off to an almost abysmal start.

Ultimate Spider-Man reaffirms there's a way to restart a major hero's continuity and make it feel fresh, modern, and not beholden to decades of canon.

The only real fault to be found here is the simplicity and saminess of it all, it's a tie-in comic that doesn't hit above its weight.

Once again, writer Tony Fleecs and artist Justin Greenwood continue to defy the odds and deliver an Army of Darkness comic that not only fully embodies the spirit of the original movie and its dynamic but also has its own identity.

As has been the case since The Bloody Dozen began, the fringes of the narrative are what is most interesting rather than the central plot on display.

Writer Jeff Lemire also finds the steady balance of making the story work with its extensive cast by doing what perhaps should have been the case from the beginning, a finer POV.

Alien: Black, White, & Blood continues to prove that the anthology format best suits this franchise when it comes to comics.

Our Bones Dust is an epic that manages to combine post-apocalyptic grit with high-science fiction optimism, a pairing that shouldn't work but feels like watching magic unfold in front of you.

A stylized approach to a Spider-person comic book can certainly work but what's on display here is confounding and often ugly.

I was critical of the first issue of Ultimate Black Panther because it felt too familiar, too safe, but what's clear now after Ultimate Black Panther #2 is that writer Bryan Hill was using that familiarity to disarm us as readers.

There's room for improvement in terms of clarity in that regard with the storytelling but where Night People #1 excels at is the artwork.

Fans of Marvel's symbiotes and their specific brand of chaos will be overjoyed to find the wild panel layouts and the stretchy, goopy, gorey goodness that awaits with nearly every page turn.

Marvel's Weapon X-Men has the consistency of a sugary cereal variant that only a bright commercial on a Saturday morning can make appear appetizing, in this case, "Oops, All Wolverines!"

Tony S. Daniel's pencils are killer, and the colors by Leonardo Paciarotti are an elevating element that makes great art even better. Shame that the story itself is barely engaging.

Hack/Slash: Back to School is both gorgeous and disgusting, something that can be found in longer expository sequences and explosive action beats.

Series artist Dave Wachter take the ball and runs with it too, delivering clean action and fun moments that deliver the kind of wackiness you can only expect from turning the page of a comic book.

The ongoing Alien comics from Marvel have been hit or miss, but Alien: Black, White & Blood hits the ground running with major swings.

This one is shaping up to end on an interesting note, but it may not be able to really push itself past what has held it back.

After the masterful first issue the bar is high for Ultimate Spider-Man, and luckily writer Jonathan Hickman and artist Marco Checchetto prove that it wasn't a fluke of the premiere and their take on the material has legs.

If there's a fault to be found in Earthdivers' story it's that tracking the entire lineage of the narrative becomes difficult at times.

Ben Stenbeck's work on Our Bones Dust has been stellar from the start and issue #3 confirms that his ability as a master of action and staging in comics is unparalleled.

Spider-Gwen: Smash hasn't yet found a way to really make itself feel unique from other titles starring the character, even the narrative feels stilted in a way that can only be described as treading water.

Overall, fun to look at, less so to read.

A handful of surprises are still in the mix that will have readers raise an eyebrow, but if you've read a Black Panther comic in the past 20 years this one doesn't feel all that different, but that's still not a bad thing to publish.

If this is really how Al Ewing's radical reinvention of Venom is coming to an end, or at least choosing to conclude its largest storyline, it's one of the most disappointing ways a Marvel series has gone out in a while.

Same as it ever was, Everwood continues to be a comic where its narrative and characters don't make a lot of sense but it remains fun to look at and watch unfold.

At its core the story isn't really something you haven't seen before, but the way it's being delivered and the cast of characters all feel fresh.

With Punisher #3 writer David Pepose has finally come into his own with this new character.

Jeff Lemire and Andrea Sorrentino's series continues to march forward having really found its footing as both a character piece and a terrifying chapter of this horror franchise.

When it's all said and done this might be the most creative Army of Darkness comic ever.

Stenbeck has been a master at staging throughout his comics career and while he continues to show off that he's nearly unmatched in that department Our Bones Dust #2 also confirms that he can reveal character details visually too.

There's not anything really wrong with The Bloody Dozen on its face, but the set-up for the series' storyline and the design work by series artist Alberto Jimnez Alburquerque is far more interesting than the actual writing of the issue.

Earthdivers does the thing you want from all good comics, showing you something you will not see anywhere else.

It's an improvement for sure but one that seems like it's for die hard fans only.

I think two things are true about modern Marvel Comics more than almost anything else: 1. When the company allows Jonathan Hickman to carry out his plans unabated, more often than not he's going to deliver something that will stand the test of time and 2. Marvel Comics as a publishing entity are in their best possible position when Spider-Man comics are most accessible to readers. All due respect to the many writers that have put their stamp on the character over the past two decades, but when the Webslinger is easy for anyone to pick up and readto enjoy without the frills of anything else in the lineMarvel thrives creatively. Jonathan Hickman and Marco Checchetto have given Marvel the chance to let both of these things be true at the same time in Ultimate Spider-Man #1; so please Marvel, for the sake of your readers and your characters, let them cook.

Giant Robot Hellboy is both a can't miss story for longtime fans and a total blast for newcomers too.

Mortal Terror continues its unique take on the Dracula story, and drops another new idea that makes its inverse of the entire story even more interesting.

Even though the latest issue feels like the series getting ready to wrap itself up very quickly, it remains fun and features some wild swings about the future of Venom.

Edenwood continues to be the coolest D&D campaign that you're not allowed to be a part of.

Far and away the best issue of The Bone Orchard Mythos: Tenement has arrived, opening up the door for both the entire franchise's story in a satisfying connective fashion but also this series' specific narrative.

Army of Darkness Forever remains one of the most interesting takes on the material in the vast history of the title's existence in comics.

Series writer Tim Seeley brings Masters of the Universe: Forge of Destiny to a close with its best issue, with fun character moments and great action.

In the end this Uncanny Avengers series feels like more of a footnote, moving pieces on the board to where they need to be next, and not something that effectively wrestled with the story that set it up to begin with.

Like with Punisher #1, the series is good but still hasn't quite found its own voice to make it different.

Writer Melissa Flores has crafted a fun plot wherein Gwen is facing battles on all sides of her life, personally, professionally, and as a superhero, which would make for a fun read if the visuals could handle it.

The Bloody Dozen is a decent read but which sadly doesn't really pique interest until the final moment, perhaps it can build on it for a strong story the rest of the way though.

It's hard to juggle dual narratives in a story, especially when they're as radically different as the two found here, but Our Bones Dust manages to handle both and make their distinct natures work in tandem.

Unfortunately, this is a comic book that has gone from being a galaxy-brained wild time to run of the mill and redundant.

The trouble is that narratively this one is like a thicket, a party that won't let you fully through the door. It's fun to look at from the outside but it just won't let you in.

This series remains a winner and Percy continues to prove he's the best modern Wolverine writer.

The inconsistent Con & On comes to a close with perhaps its most poignant issue, but one that still reads like its finger isn't really on the pulse of things.

Mike Mignola has crafted a story that lovingly pays tribute to classic monster movies and 70s espionage action, while also featuring some amazing connectivity to his own franchise.

Hack/Slash as a franchise has never felt more fresh than it does here.

Writers Christopher Golden and Tim Lebbon have a real gem on their hands with Mortal Terror, a new must-read for classic horror fans.

In a series filled with experimental storytelling, Jeff Lemire and Andrea Sorrentino's latest issue of The Bone Orchard Mythos: Tenement might be its most ambitious.

Cullen Bunn and Phillip Sevy's opening storyline is clearly the best, playing with the format and multiverse shenanigans in a fun way; even Rob Liefeld's short story is a highlight (no, really) compared to the stale stories that make up the rest of it.

The Rocketeer: In the Den of Thieves has been a fun series to read, but issue #4, like the previous one, spends a lot of its real estate just adding some window dressing that doesn't push things along.

Writer Gerry Duggan plays his hand here as well with a major reveal that will have Marvel fans reeling. Time will tell if it's a storytelling choice that works or not because right now it's just baffling.

Though Army of Darkness Forever continues to forge a path ahead that stands apart from the droves of Army of Darkness comics published by Dynamite, there's not quite enough structure in the storytelling for this to be a perfect grade; but it's still a hoot to read.

There's nothing yet revealed that makes this feel unique on the whole, no specific take on the idea of a gun-toting, revenge seeking maniac in a world with superheroes and super villains, but the potential seems like it could be there... eventually. Right now though, it's kind of just what you expect from The Punisher, just starring another guy, which feels like not enough.

The series still feels at a distance for readers though, not really doing anything we haven't seen nor shaking things up in any meaningful way due to the prequel nature of it all.

Classic Venom fans will find something to like here though as series writer Torunn Grnbekk has a writing style very reminiscent of Todd McFarlane, right down to some of the same bizarre storytelling decisions.

Only some of the story even makes sense in this first issue, and some precious real-estate is taken up by a prologue that is an incredibly clunky set-up for the larger world but once this one finds a groove it becomes a more fun read.

A perfect blend of team-spy films and giant monsters, this is an easy comic for newcomers to read and one that long-time fans will find incredibly fresh.

If you're a fan of big swings, or horror-comedies, Paladin of Axes needs to be on the pull list.

Predator vs. Wolverine remains satisfying even with the hiccups at hand.

The latest issue of Uncanny Avengers feels less like the next chapter in this stor and more like a to-do list being checked off as we go.

Con & On continues to build on its satirical take on the larger entertainment landscape, finally arriving near our current point in time and thus making wisecracks about more obvious scenarios and people.

Thorogood proves that she can play in someone else's sandbox while still maintaining her own storytelling sensibilities, and frankly she brings an energy that a stale franchise like this needed.

The Bone Orchard Mythos: Tenement continues to build on its foundation with perhaps its most satisfying issue yet.

There are, it seems, thousands of Army of Darkness comic books that have been published, but Army of Darkness Forever has finally found a new path to take.

The storytelling is top-notch in this issue, setting the stage for something really interesting moving forward and filling a void in comics that few other noir storytellers are managing to publish.

After the bombastic Venom #25, it's hard not to feel anything but being let down by the new direction of the series.

This new He-Man series, shackled by the fact it's a prequel to the Netflix reboot, is hindered by overly wordy panels across page after page.

All in all it's a fine read, even if it gets a bit wordy with its overly complicated plot.

It's somewhat confounding how poor the first half of this issue since the second feels totally different, and a remarkable read.

Taking one of Star Trek: Lower Decks' most unique characters and giving it a proper humor comic treatment, this one-shot is a must read for fans and one that even non-viewers can appreciate.

Even when the larger narrative plays into confusing territory, Boss' style as an artist keeps your eyes glued to the page and interested in wondering where the hell things can possibly go next.

Things are left in an intriguing place for the remaining issues of Predator vs. Wolverine, and as long as they can get the visuals in a fun place for the rest of the story (and complete Ken Lashley's part of the narrative) it's looking like a big win for Marvel.

It's not always successful, but the bar it's aiming for isn't a multiverse re-writing crossover event, it's a simpler, fun one.

The series remains a great one to read and look at, but it doesn't quite reach the heights of other Lemire/Sorrentino collaborations.

There's still promise here, and also some suspicion on my part.

Series writer Paul Cornell continues to evolve the characters here but much of it seems to happen between panels, reserving only his most scathing attempts at critique for the page.

If you're already on the United States of Murder Inc. train, this latest issue from Brian Michael Bendis and Michael Avon Oeming is what you expect in every regard, which is to say good.

Al Ewing's mega-sized issue is at its best when focusing on the hijinks that Doom and Venom encounter while tumbling across time and discovering what adventures await them in each new period, and less so when it's doing its best to untangle the larger "how" of its time travel provocations.

Dvila's ability to harness the respective chaos and calamity of both Marvel characters makes this a fun read, even if you haven't read the other "Contest of Chaos" issues.

This prequel series to Netflix's Masters of the Universe: Revelation is about what fans might expect, plenty of set-up and exposition that you may already know but which total newcomers might need.

Silk fans will certainly find something fun here, but this series is more built on the dream pitch rather than telling a fun Silk story, whose presence often felt ancillary.

This Red Dawn meets 30 Days of Night mash-up reaches its conclusion and unfortunately the trend of Survival continuing to play the story beats you expect is exactly what happens in its last issue.

A celebration for all things classic Marvel, Marvel Age #1000 presents a series of back-to-basics style stories that will remind you why you love some of these characters so much.

Naturally, Sorrentino's unique panel layouts are the real winner here, but the plutonic imagery can only carry it so far when half the characters aren't even fun to read.

The continuing adventures of The Rocketeer continue to be a fun, pulpy adventure for readers.

Al Ewing delivers one of the best issues of Venom in quite some time, showing a clear knack for writing Doctor Doom that feels entirely in character but also fresh.

It's unfortunately starting to appear that Marvel doesn't really know what to do with the Alien IP despite it now being part of their wheelhouse.

Even without its connectivity to Hellboy, this is already a new classic comic to recommend to fellow readers.

Garron's work is, for the most part, pretty extraordinary in Uncanny Avengers #1, elevated with some help from colorist Morry Hollowell.

Writer Paul Cornell has some funnier jokes this time around, with artist Marika Cresta and colorist Paul Little continuing to really grasp the reality of what these events look like.

Brian Michael Bendis' writing continues to push things into new territory that is unique while still firmly in this weird noir world that the pair have created.

Though the series hasn't always been consistent with its ability to tell its story seamlessly, including this issue, where the ending goes is still something to keep an eye on.

Writer Sean Lewis is pushing the narrative into the territory that it has been building toward at least, so perhaps its final issue will be the series at its best.

There's almost nothing to capture one's attention as a reader beyond what can be seen on the page as its narrative is one you've already read a hundred times in better comics.

New readers will likely find something to like here, while longtime fans may come away feeling like they've read this one before.

It's a fast ending, but a satisfying one, and where the path ahead is clearly marked once again.

The new Silk series is able to find a right blend of dream world and real world antics in its latest issue.

With things finally in an interesting place the next issue seems poised to be its best, but the story is already half over with only two left, and no real sign of where things are going.

A clear love for the look and feel of Venom and the world he inhabits is on display, with a special shout out to colorist Frank D'Armata for adding another layer of depth to it all.

Artist Andrea Broccardo continues to do good work, but there's only so many times you can see a hissing alien run down a hallway before it loses impact.

A compelling comic inspired by an audio drama seems like a tall order, but writer Travis Beacham and artist Andrea Milana have managed to make it work for newcomers and longtime listeners.

Though fans with a knack for lore will find this one irresistible from that perspective, it's Lonergan's style as an artist that will cement this one's place in the Hellboy history books, it's that good.

This new series from AHOY Comics does its best to lampoon the comic industry, both its readers and its talent, but falls short in most respects.

Smith is able to imbue his own style with the same sensibilities that drive Mignola's own art style, giving this a visual consistency that lets it sit along classic Hellboy titles.

Beautiful layouts and stunning double spreads make this one of the most beautiful comics of the year to look at, and one whose action beats are never predictable.

Even if you've never seen the movie or read every page of The Rocketeer before, the new series The Rocketeer: In the Den of Thieves is one that has something for you.

This Red Dawn meets 30 Days of Nights tale continues to not really do much different from its predecessors narratively.

Never let it be said that Al Ewing doesn't swing for the fences with his ideas and surprises.

An improvement over the previous issue but this new Alien series is one that is only as interesting as the carnage that it can show readers.

Set in a particular year far enough removed from Hellboy's conclusion so as not to upset anything, these comics end up ranging from somewhat necessary to pulpy, forgettable fun. Unfortunately, this issue fits largely into the latter category. Though the narrative itself is fine, there's a major stumbling block almost immediately with the artwork on display.

Ed Brisson's work on the Predator series continues to impress, delivering stories where the presence of the titular alien hunter is one that always surprises and isn't mandatory.

The best part of Silk #1 was how it played with the dream narrative at its core, and though writer Emily KIm continues to explore it Silk #2 finds more time outside of the dream with mixed results.

Series writer Steve Orlando makes sure that the Scarlet Witch Annual is one that readers of the new book will find mandatory. Though this is being used as a bridge for a larger, Scarlet Witch-free event, the unique plot and re-introduction of Agatha Harkness into the Marvel Universe make this a must read.

Even readers that have been with The Bone Orchard Mythos may find that Tenement is the densest story of the universe yet.

Appropriately titled "PAGES 2-19: THEY FIGHT," Venom #21 is full of artistic glam but manages to weave big plot machinations in there too.

Mike Mignola continues the most exciting new chapter in Hellboy lore in years with revelations that will stun longtime readers, piecing together huge elements of lore.

Michael Avon Oeming's explosive artwork remains the main reason to give this a look as his layouts and decisive paneling are largely unmatched in comics.

Writer Sean Lewis and artist Bryndon Everett's series finally starts telling the story it clearly wanted to in Survival #1, opening up the coffin to elaborate on its blood-sucking antagonists.

After months of unnecessary tie-in issues, Al Ewing's Venom finally gets back to the good stuff.

The new Alien series chugs along as one might expect throughout its second issue, with writer Declan Shalvey getting to the part of a Xenomorphy story that many fans are waiting for, the carnage.

Cavan Scott and Nick Brokenshire's wild, horror-epic comes to a mostly satisfying conclusion, one with a poignant ending that readers will likely be happy to see.

Horror fans will be talking about this one for years, and it's the kind of comic that readers will get to delight in as an easy recommendation forever.

You will not find anything like this coming out of a modern movie studio because there is an unmatched level of power in these pages, and a deranged acknowledgment between creator and reader that this is a story eager to break free from its panels and into your imagination, where it will only blossom further.

Tim Seeley's Masters of the Universe anthology comes to a close with one story that is a let-down and one that actually does the format justice.

Artist Jesse Lonergan brings a style and uniqueness that feels right at home alongside Mignola and his other collaborators, already standing head and shoulders above some of the other prequel stories. In short, this is the best original Hellboy spinoff in years.

Predator remains a fun series for fans of the franchise, and the latest issue from Marvel Comics is no exception.

It's a fine read but it won't have you rethinking everything before it like previous issues in this rung.

Brian Michael Bendis peppers in elements that flesh out the larger world, but there's not a lot to hook you here that isn't the visual aesthetic of the entire piece. If that's what you're here for though, you're going to have a great time.

Writer Emily Kim has a fun premise for this new Silk series, doing a multiverse-style narrative with a twist that hinges on a lack of realism.

It's tough to really call this entire series a must read of modern comics, but its ability to maintain a unique style of a comic that is no longer really made is something that a certain generation of fan can only find comfort with.

From this juncture it doesn't really appear that Survival is doing anything that has not already been done before, but there's definitely room for surprises, which would be welcome.

Writer Declan Shalvey is quick to establish these new characters in a satisfying way, making this feel totally new from any other recent Alien comic series.

Writer Eve L. Ewing is clearly eager to get to the final half of this issue, which is the entire series at its best, but the setup to get there leaves something to be desired.

Dead Seas is one of the most unique horror books being published, and it seems poised to stick the landing with its last issue.

Once again, writer Justin Jordan and artist Brahm Revel show off just how well they understand the genre they're playing in and how easily they can subvert your expectations

Writers Becky Cloonan and Michael W. Conrad also continue to push the ideas of the character and his world in unique new ways, giving it an awe-inspiring galactic scale.

In the final issue of Know Your Station, writer Sarah Gailey not only manages to make the big reveal of its mystery impactful but walks such a fine tight-rope act in the explanation by making sure it doesn't feel cheap or derivative.

As always, it's a coinflip, but at least one of the stories is a must-read.

Ed Brisson's second volume of Predator continues to find new ways to innovate its plot while pulling from everything that came before it.

This being the final chapter it's a climactic fight for most of the issue, and even when the dust is settling Nguyen manages to keep things interesting and unique throughout.

Avengers: War Across Time is where you can feel the bloom coming off the rose a little.

This final issue wraps up probably a decade of stories in the Hellboy universe, perhaps finally bringing closure to multiple characters in this universe and doing it without lifting a single weapon.

Venom is clearly headed for an interesting place, but it's also been going on this road of genre babble for a while now.

Melding a unique style with explosive set pieces and a continued refreshing style of specters make this series something that horror fans should definitely seek out.

If there's a fault in this issue though it's that the title appears to have become lost save for one page, but for fans invested in the "love," it's a good one.

Alongside co-writer Christopher Golden the latest chapter in the Lady Baltimore series brings a new twist into the paranormal-Nazi story that Mignola has exhausted before.Artist Bridgit Connell continues to do stellar work with Lady Baltimore, making the action beats carry the weight of each punch while also allowing the paranormal elements to stand apart from everything else ever seen in the franchise.

This series is a meditation on fighting your inner demons once they have become clearly public.

The unbearable weight of coolness that X-O Manowar Unconquered manages to shoulder is what makes it such an enjoyable read. It's like a heavy metal album was given life, purpose, and a desire to riot.

The classic-style escapades of the Avengers continue to be a treat to read from writer Paul Levitz and artist Alan Davis. Avengers: War Across Time's latest isn't its best, and though it gets things in a unique place for the final, it's clearly the weakest of the series.

Harrower's first issue was already an impressive start for the series but issue #2 is just as good. Run, do not walk, to pick this up if you're a slasher fan.

Featuring art by Victor Santos the story is Masters of the Universe by way of Sin City and is a can't miss for fans.

Tragically this is a very wordy series, Nguyen co-writes with Scott Burman, and much of the artwork is covered by the overly complex balloons that take up a lot of real estate.

Sarah Gailey and Liana Kangas' sci-fi mystery takes on new unique layers in its latest issue, sending its narrative down corridors that aren't even open to stories of a different sub-genre.

Predator #1 has not only what fans expect from the series, but wastes no time in giving it to the readers.

Artist Nick Brokenshire continues to impress, capturing the grim mood of being aboard a haunted vessel at sea, plus delivering unique and terrifying ghosts with each new page.

Ferreyra's characters manage to make the dream-quality of this larger story feel fresh and interesting, putting a stamp on Spider-Man like no one else has done in a long time.

This is a profound piece of comic book storytelling and the must-read Marvel Comics title of 2023.

Artist Matt Smith continues his domination of Hellboy universe artwork, delivering a style that feels both fresh and so similar to Mignola's own work that it feels quintessentially "Hellboy."

Packing the punch of a great Stephen King short-story, scribe Cullen Bunn has delivered a one shot that will get under your skin.

In short, this is for uber-fans only.

Eve Ewing's new Photon series continues to be a pleasant read, one that new and old fans of the character can find something fun to hang onto.

It's clear what co-writers Scott Burman and Eric Nguyen (who also serves as the book's artist) are going for, but the lame jokes simply make it unappealing.

All this is to say that the plot itself isn't much to write home about, but it remains engaging from an artistic point of view and at the end of the day is something that's fun to read.

Quickly hearkening to the likes of Halloween and Friday the 13th, Revel's artwork not only doesn't shy away from the gruesome nature of such killer-fueled excursions, but most importantly captures the look of the town and place where these things happen.

Part of the genius of writer Sarah Gailey's script for Know Your Station is its uncanny ability to layer in new character work while still engaging with and breaking down its larger plot machinations.

Mike Mignola and Ben Stenbeck are largely an unbeatable team when they collaborate and Koshchei in Hell continues that tradition.

Bryan Hitch's ability to make alien beasts wailing on each other look cool is mostly undeniable but Venom #16 suffers from a fatal flaw in the lack of visual consistency across its images.

Though Attack on Castle Death has felt more like an asterisk in the history of the character, it seems like there's potential for its larger narrative to get expanded on in a more meaningful way down the road.

Dead Seas possesses a cinematic narrative with a breakneck pace and some of the most unique visuals on the stands.

The character of Doctor Strange has not had his potential explored to this degree, and his boundaries pushed, since Steve Ditko created the guy.

As has been the case for the entirety of Deadly Neighborhood Spider-Man, the work by artist Juan Ferreyra is the primary selling point of the series.

Strange #10 sees artist Marcelo Ferreira not only knock it out of the park by virtue of his paneling and action beats, but working alongside inker Roberto Poggi and colorist Java Tartaglia to create one of the best fights I've ever seen.

Splash pages really earn their place in the story this month with Hitch's ability to draw amorphous muscular bodies never looking better than two symbiotes beating the snot out of each other.

White Savior is clearly establishing itself to be something interesting but its first issue spends most of its real estate explaining its lead character and his attitude in a clumsy fashion.

This old-fashioned story with modern conventions works in this case, but it's not reinventing the wheel. The series may not be aiming for that either though, it might just be aiming for fun, which it is.

Scribe Sarah Gailey continues to deliver on the hard-sci-fi promise of Know Your Station's set-up, digging deeper into its noir tone and making its mystery even more compelling.

Come for the fresh perspective on a character's position in a vast comic book landscape, stay for the series' grand visuals.

Building off of what was far and away their best issue of Ultraman, writers Kyle Higgins and Mat Groom have brought the latest series in for a landing with another great issue.

While most of this series doesn't feel like a Spider-Man comic by virtue of the dialogue and plot, Ferreyra is able to remind you that the wall-crawler is still the star.

Tradd Moore's ambitious Doctor Strange series continues to be impressive, if not perhaps filling itself with a little too much.

Writers Mike Mignola, Christopher Golden, and Thomas Sniegoski had a fun story in here, but one that seems to have gotten sidetracked focusing on new monsters that frankly aren't that interesting, not when a walking, monk-warrior Frankenstein is the lead character.

While the previous issues have often left something to be desired, artists Sean Izaakse with Netho Diaz (featuring inks by Izaakse and Victor Nava) give this one a more memorable flair than the others, in particular for how it explores the big villain's powers.

Readers that have come to expect a certain level of unique, hard-edged science fiction from AL Ewing and Ram V will find themselves lost with the latest issue, a tie-in to the "Dark Web" crossover that is mostly nonsense.

There's a lot to like about Dead Seas, especially in Brokenshire's artwork, and after getting over the initial humps that arise with some clumsy first-issue exposition it proves to be a clever read.

Jed MacKay's Strange has been a fun building block toward the next chapter of the character in the Marvel Universe, but Strange #9 proves that this dynamic between Stephen and Clea is one that shouldn't end.

As was the case with their previous collaborations, the only reason to read a Todd McFarlane-written and Greg Capullo-drawn comic book is for the artwork provided by the latter.

This one-shot may carry the "Chilling Adventures Presents" banner and the Archie Horror label but it fails to live up to that standard in the majority of its tales.

Eve Ewing's new run on Monica Rambeau reminds readers, or perhaps confirms to new ones, why this character can be so compelling, even if there's more than the necessary amount of cameos.

Frequent Mignola collaborator Christopher Golden continues to deliver on the romantic angle of the storyline, while the traditional paranormal side leaves bit to be desired.

Combining the motifs of a futuristic satire with a whodunnit murder mystery gets you Know Your Station, a new series that is trying to do a lot but manages to succeed at most of it.

Seven Sons #7 is perhaps the standout of them all as the frenetic paneling of the last issue, coupled with its extra pages, make it a visual feast.

Though an attempt is made to give this title some leverage to potential new readers, this is a comic almost reserved for the hardcore Mignola/Hellboy fanatic. Fitting that descriptor however, it's a nice start to a series that could very well become something very fresh and unique in this publishing line.

There's still a uniqueness to be had here though so even if the art doesn't live up to previous issues it's a fun story to read.

Writers B. Earl and Taboo (member of the Black Eyed Peas) have a better footing of their story now in issue #2, making you wonder if so much of the set-up in #1 was necessary or if they were just getting to the reveal of the big bad (New Mutants favorite The Demon Bear).

To bad mouth any recent work with Doctor Strange would be doing a disservice to the writers making recent attempts under the banner, but Tradd Moore's work in Doctor Strange: Fall Sunrise already feels like the pinnacle of what an artist can do with a character that hasn't felt fresh in years.

This Frankenstein tale is still a solid one but one can't help but wonder if maybe it should have just been a graphic novel with the way it's paced.

The real tragedy is that this Thunderbolts title isn't still sparking the level of interest it gave off with its first issue, it's fine, but could be so much more.

It seems unlikely that Marvel's Ultraman comics will end after this volume but with one issue left it's looking like an epic place for it to conclude.

Mike Mignola and Thomas Sniegoski's continued work in the Young Hellboy realm remains an odd corner of the franchise. By bringing the naive world view that the titular fella has and marrying it with the larger conspiracy-driven, monster-occupied larger universe, it becomes a combination unlike anything else being published under the banner.

With the finish line in sight, Seven Sons' writers Robert Windom & Kelvin Mao are racing to the end of their story and perhaps the best and worst qualities of the narrative are that there's no way to predict what will happen next.

As was the case with the likes of Immortal Hulk, even when tying in his new Venom series to a new Marvel event, scribe Al Ewing makes it play seamlessly with the narrative he's already telling.

In the end though Survival Street ends on an optimistic note, literally, which offers a perspective that the series as a whole perhaps should have leaned into more, but it's still a fun read.

When the new Strange series began it seemed like it was going to be just a bridge between new Doctor Strange comics, one that filled a gap between publishing initiatives. Writer Jed MacKay and artist Marcelo Ferreira have taken that building block and built it up even more though, creating what's a unique new take on the larger idea of magic in the Marvel Universe.

Diaz and Olazaba have fun with the issue's fun action beats (psychic monkeys take over a zoo, it's great), but Thunderbolts #3 posits that this team is a broken group of people that were assembled for the marketable aesthetics that they have and not their abilities as a group, which is only breaking them further.

Writers Kyle Higgins and Mat Groom have earned this moment but the issue also revealed that perhaps their biggest crutch, overly wordy panels and balloons, can be overcome, and the series will be better for it.

The new Venom series is quickly becoming a must-read sci-fi epic.

Writers B Earl and Taboo (of the Black Eyed Peas) collaborated on the story that feels like part 12 of an ongoing and not the fresh start to an all-new narrative that should be welcoming. In the end it's all confusing.

Todd McFarlane shows a surprising amount of subtlety in this part of the story, which feels like a real moment of growth for him as a writer, whether it was intentional or not.

Long-time Hellboy readers know that the "Beast of the Apocalypse" has dabbled in romance a handful of times but his flings were brief, albeit powerful. With their new series, Hellboy in Love, the powers that be in the franchise have decided to explore the idea with a little more nuance, plus it finally gives those with the hots for monsters some representation in another mainstream comic book series.

On the whole there's not much that's actively satisfying about this as a story but anything that gets Lee the chance to do his thing is worth a flip through at least.

It's kind of a shame that this new run on the character hasn't caught on to the same effect that Cates' had, it's far more inventive without pandering to expectations in any way.

Overall it's been a unique ride that stands out from the other Hellboy spinoffs of late.

Wright's colors continue to pop in a major way with issue #3 showcasing her work at its best.

Saladin Ahmed's run on Miles Morales ends with a whisper instead of a bang.

It's the kind of storytelling addition the series needed but it's contained in a larger "frankly, who cares?" wraparound, though visually it remains a unique thing to look at even if it's a chore at times.

Sadly a lot of what made the first issue's take on the Thunderbolts interesting, it's lampooning of entertainment conglomerates and techno-babble nonsense, is absent from Thunderbolts #2.

This journey is a big one for our characters so the time spent digging into what has become of the surface world is one that longtime readers will find rewarding.

While the lead character is seldom interesting he at least always looks cool, and the latest issue brings some gnarly gore to the table thanks to the art team.

Jed MacKay pens what is perhaps the best issue of this new series, an entirely Wong-focused adventure, giving the reader unique context and insight into the character that largely lives on the margins of Doctor Strange tales.

Every panel pops on Ultraman, even if it's just a conversation between two characters, which makes the uncommon moment of kaiju fighting all the more fun to enjoy.

A Righteous Thirst for Vengeance is a must read for all comic book fans.

The best issue yet of Seven Sons as it actually gets into the meat of its plot and puts aside its larger, less detail-oriented world building.

Though the DNA of it has been there from the beginning, with some annoying side trips, Al Ewing has finally really brought the flavor of what everyone loved about Immortal Hulk into this version of Venom.

A fun read that sure seems to be headed in new places each issue.

The flagship Spawn title continues to be a largely incomprehensible book in terms of narrative momentum and artistic continuity.

Even when the narrative of the series itself is trying too hard, the art always shines.

The final issue of the Dark Horse Comics series ends in the most logical narrative place but also concludes before it can show the drastic changes that this has on the world in a satisfying way.

This is a must own for all Spider-Man fans.

Like nearly every other attempt at rebooting Thunderbolts, there's a kernel of a good idea here, but it seems to be the latest in a lineage of "Marvel has no clear idea what they want the Thunderbolts to be, but it's still time to try again."

Booth's artwork has largely been the saving grave but even the awkward positions he contorts the characters into this time can't elevate this one.

Though this final chapter in the alternate universe storyline mostly sticks the landing, its conclusion is largely welcome because the arc as a whole has not been as satisfying as others in Saladin Ahmed's run on the character.

Every time I think one of these Spawn comics is about to totally lose me there's always one idea that makes it seem worth it.

Writers Robert Windom and Kelvin Mao expand this story in a big way with its latest issue, finally pushing its central mystery to the forefront in a way that finally makes this not so tedious of a read.

The Strange comic series reaches its clear best issue with writer Jed MacKay finally pairing his lead character with a suitable match, and also cutting to the chase of its larger storyline.

Eoin Marron's artwork, with colors by Mark Englert, also builds upon the previous tale and evolves along with the prose while also still managing to keep a creepy air about it, even during the daylight scenes.

Writers Kyle Higgins and Mat Groom return with their next batch of Ultraman comics at Marvel and while some of it is definitely new reader friendly (the better part of the plot), half of it is tough to follow even if you've been invested this far.

Mike Mignola and Chris Roberson's latest one-shot story in the world of Hellboy doesn't do much by way of expanding any specific corner of the world but at least has a fun little story with a piece of folklore previously unexplored in this series.

Writer Cavan Scott manages to thread the needle well in this hospital-but-for-monsters story, giving us a unique problem that only a comic like this could tackle while also maintaining a genuine interesting root in its narrative, the characters.

Saving the best for last, writer David Michelinie delivers an issue that is as absurdly fun as it is completely retro.

There aren't many misses in the pantheon of Hellboy comics, but Frankenstein: New World seems poised to become the best story since B.P.R.D.: The Devil You Know concluded.

Rory McConville pens what at first feels like one of the most interesting issues of the mainline Spawn book in ages, until it devolves into exactly what you expect in the end.

As subtle as a flaming pile of dog poo to the face, Survival Street packs a punch as a debut issue while also striking out hard at some points.

A Righteous Thirst for Vengeance is a gift.

Strange continues to be an interesting series, but sadly one with a ticking clock on how long it can continue.

The Scorched reaches new levels of incomprehensibility this month, as the black-clad hell monsters continue their fight against the other black-clad hell monster.

Al Ewing channels a different Christopher Nolan title this time, Interstellar, for a trippy new issue that completely re-contextualizes every preceding issue of Venom in his run with Bryan Hitch to this point.

It's a fun read but you'll probably forget about it as soon as you put it down.

A fun follow-up to a story from the 2019 Hellboy Winter Special, Time is River is a fun jaunt within the franchise.

The "Empire of the Spider" storyline has been a good one, and the latest chapter is no exception; but the trouble with Miles Morales: Spider-Man #40 is that it seems to be the latest in a few issues that seem to keep the series spinning its wheels waiting for the conclusion.

Seven Sons' larger satirical bent doesn't feel quite as biting in issue #2 but as the full picture continues to become clear it always remains amusing.

In a world where Venom recently led a world-ending company-wide crossover though, it's fun to read a campier take that has him doing television interviews and fighting D-list villains.

Though the first Young Hellboy series was a fun little romp, Assault on Castle Death is already proving itself to be superior, digging deeper into Hellboy lore while also maintaining a unique visual stint.

Artist Andrea Mutti and colorist Lee Loughridge continue to elevate the material by digging deep into the aesthetics of this particular horror subgenre, bringing that killer final page to life that genuinely made me gasp out loud.

Writer Zac Thompson and artist Eoin Marron have crafted a terrifying vision of a new horror comic series here, creating layers of narrative that are already ripe for exploration.

Rick Remender & Andr Lima Arajo's series gives readers a surprising respite in this issue where almost nothing bad happens.

Artist Gabriel Hernndez Walta makes their presence known in a big way with the one-shot as well, bringing a flair to their art that gives this entire story a pulpy texture.

Sean Lewis has finally cracked the formula about how to make a team of Spawns work, give the readers a POV into one specific character and make them the window into all the others.

Artist Ivan Fioerelli does great work with the absurd situations that the character finds himself in, making action beats fun and keeping the pace of the entire story moving.

Gunslinger Spawn is at its best when Todd allows it to explore the titular character's backstory and what separates him from all of the other symbiote clad fighters that populate this world. Luckily we get some of that here, making this a solid issue until it's forced to fold itself into the largest continuity.

Ahmed's work continues to be great though and even with a less-than-great issue, it's still a solid Spider-Man story (even if one particular moment seems very out of character).

Overall this issue has a unique hook to keep reading but this story seems to be almost too similar to the recent all-new "Clone Saga" storyline that Miles was at the center of.

Rob Guillory's wild horror series continues with the kind of hilarious yet horrifying tone that only he's capable of pulling off.

It's difficult to describe Seven Sons writers Robert Windom & Kelvin Mao's work in the series as biting satire when it frankly doesn't seem all that different from reality at times.

Yehudi Mercado gets the distinction of writing the best issue of What IfMiles Morales, giving us a version of Thor unlike anything ever seen in the pages of Marvel Comics.

It's a stellar storyline and one that makes this a must-read series.

The Ward is proof that this specific subgenre of fiction is ripe for telling across mediums, but also that there should be an angle of distinction that separates it from the rest.

Picking up from its best issue earlier this year, writer Al Ewing has crafted a Tenet-like twisty piece of science fiction that feels like the kind of radical invention that Venom needed after the previous run with the character.

You could teach courses on the mastery Remender and Arajo give us in this series.

Ahmed's work with the character has proven that he has tremendous grasp on Morales as a character, this will be where he gets to show he should be Marvel's next big thing.

Ferreira taps into the aesthetic qualities fans expect from magical depictions across splash pages, giving this series its best issue yet.

If you're fond of the Spawn line you'll likely find something to like here but the series continues to be a trite experiment in creating an Avengers for this universe.

The unique playground this series is exploring is making it a very original chapter across the franchise and Mutti's artwork only amplifies that.

It's frankly a miracle that a comic that feels so stuck in the mid-1990s is as readable and fun as Gunslinger Spawn.

Hellboy and the B.P.R.D.: Night of the Cyclops is one of the best new stories featuring the character in some time, channeling the best aspects of early Mignola work and adding a new flair to the franchise that makes it unique and memorable.

Free from the shackles of first-issue exposition, Venom: Lethal Protector #2 is able to really cut loose and get to the chase.

One six-panel page is the largest action beat that occurs in the entire story but it's built toward that moment with such elegance that it plays like cresting a hill on a roller coaster, speeding toward the conclusion in the blink of an eye.

Rick Remender and Andr Lima Arajo's series remains a near-perfect exercise in comic book storytelling.

The Scorched remains like a title that despite barely being out of infancy will require reinvention to be interesting on the long term.

Chris Roberson flies solo as writer this time, and the absence of Mignola's brevity can be felt in earnest, but Andrea Mutti's artwork, featuring colors by Lee Loughridge, are what give this story life and make it an interesting new road.

Longtime fans will have a lot of boxes checked by what's going on here, which continues to feature some of the best art of all the titles, but newcomers will be left wondering, "what year is it?" and "is that it?.

This is classic comic book storytelling at its finest, with art and words working in tandem to create a spellbinding action set piece that keeps the pages turning and the reader with the ultimate feeling on its final panel: What happens next?

It's not poorly written, but Macchios' style of overly wordy panels is grating, and in fact would suit that purpose well, but it's not something that longtime readers are going to find much interest in.

New readers might largely be lost about the plot but long-time readers will find this very rewarding.

Ram V's work as the new writer has been somewhat inconsistent, carrying the baggage of what fans expect from a Venom comic while also exploring new avenues for the characters. The kinks are still being worked out, but it's fine to read.

Farid Karami is given a lot of room to work into the action beats and the new designs of these alternative characters, including naturally other X-Men favorites, but there's sadly little of interest on this bone until the final page's surprise.

Writer Jed MacKay has interesting ideas for this Strange series, as seen in the conclusion to this issue's big fight being a surprising turn one couldn't predict.

The Scorched is a weird book. As said before it's difficult to have a team title that is composed of characters that are almost carbon copies of each other, but writer Sean Lewis has come into his own with a concept that is ludicrous from the jump.

Arajo's artwork remains solid across the board though, filling in yet another mysterious new corner of the series that is ripe for further exploration, even if we never get it.

For a universe that has routinely found innovative ways to tie its large mythos together in surprising fashion, Hellboy: The Silver Lantern Club has concluded its five issue run as one of the least essential reads in the entire canon.

Where this chapter struggles though is in the relationship between pencils and inks. Artist Christopher Allen is credited with penciling the issue while also splitting inking duties with Victor Olazaba and Scott Hanna, resulting in a staggering inconsistency across character and environment appearances in some pages.

Rory McConville pens one of the best issues of Spawn in months, delivering actual moments of character building within the page and not relegated to a side note that offers something the dialogue and art didn't (the typical McFarlane style).

Writer Christian Tropeano has crafted a dense sci-fi world with Beyond the Beyond, a place dripping with satire of our current world set in what's clearly a not-too-distant future.

Todd McFarlane's spin-off series with the biggest cowboy hat you've ever seen in your life remains the most readable of all the Spawn comics, largely because it is so unpredictable.

Do you like old-school Venom? Then this is probably what you want, if not, keep searching.

There's still room for improvement in The Scorched but it seems like it could become a dynamic read with more practice.

Spawn writer Rory McConville makes a decent mark on Spawn with the latest issue, pushing the narrative into a unique place even if he does so by evoking modern political rhetoric that feels antithetical to the larger themes of the series.

Though the last issue was the pinnacle of the entire series so far, Venom #6 is a fine entry point and a continuation as new readers can get the full story and those that have already punched their ticket get even more out of the story.

Readers that might not have dug into the "Death of Doctor Strange" event need not worry though as every piece of context you'll need is here, and it seems like there's a lot of unique decisions at play in Marvel Comics' Strange.

Writer Cody Ziglar juggles exactly what you expect from a new universe built entirely for one story pretty well in the start of this new What If"? miniseries, checking the boxes of character changes and combos that make this style of story a fan favorite.

Heavy once again on the exposition, but that's just Todd's style, this issue does deliver on some interesting twists to the entire Spawn canon that will have hardcore fans eager to keep reading.