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.

Garth Ennis' new series has nearly worn out its welcome after three issues and its escalating levels of debauchery that add little to the narrative.

Do you want to see Spawn characters kill monsters and set stuff on fire? Then this is for you. Do you want to read something that brings something new to the table of this franchise? Keep looking.

Valiant's latest attempt at a character reboot lands with the thud of a fish at a market.

Perhaps if I was 9 with a belly full of cereal I'd be gripped by this, but as it stands now it lacks much appeal.

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.

I think the tank might be empty on this one but its climactic surprise might spark it back.

Were it not for the tremendous artwork by Carlos Magno this would be a major skip. Here's hoping that the giant robots get their day in issue #2.

The second issue of Avengers Mech Strike further solidifies that this series is really just Pacific Rim with "Earth's Mightiest Heroes," which is fine, but there's little else going on.

As Avengers Mech Strike has continued it has only become more incomprehensible.

It's bound to happen when you're telling a story that has begun across other titles, but Batman/Superman #6 is the perfect example of a filler issue.

You've been sprayed in the face by the fake flower, a cream pie falls in your lap after splatting on your head. This was a joke and it was on you.

What the heck is even happening here most of the time? Don't ask me, what a let down.

Like so many other Brian Michael Bendis series, Checkmate concludes with grand promises that bring up interesting questions about the future and what's next, but throwing out potential for another series isn't enough to earn more good will than the story itself earns.

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.

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.

Writer Phillip Kennedy Johnson, who recently reignited DC's Superman after taking the reigns from Brian Michael Bendis, now has a similar job with Marvel's symbiotes after Donny Cates' work with Venom came to a conclusion, sadly his work for the Distinguished Competition started stronger.

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.

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.

Your eyes may roll from the prose but the art will smooth it out along the way.

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.

Penned by Mignola and frequent collaborator Chris Roberson this series doesn't so much fill in gaps of the larger mythology of the Hellboy universe instead simply creating tiny footnotes that can be referenced in stories on the whole, which is to say this might be a fine read but it seldom feels as engaging as many of the threads it's picking up from.

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

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.

That its entire lead-in is buried in this one-shot that fails to justify itself is (as yet another Joker-got-away storyline) a massive headache.

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.

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.

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.

Tan's artwork remains unparalleled though, delivering the kinds of dynamic and versatile splash pages that keep you reading as the plot lags.

The hits are being played hard here and even though these might be the things keeping readers coming back the reinvention of the character can't come soon enough, assuming that's what we're getting.

As I've written before, the issues of Spawn that read like wheel spinning or piece moving across the board can be taxing, and this is one of the most egregious examples even with a final page that carries weight.

Spawn #326 marks the first issue in a while that Todd McFarlane didn't pen and by the end I was ready for him to return.

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

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.

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.

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

Amusing ideas aren't in short supply but Its ambition doesn't satisfy the clumsy handling.

Few ideas about this world stand out as unique, and with so little connective tissue to Miles' overall journey it hits the ground with a thud instead of swinging.

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.

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.

Some of the cleanest art you'll find in a modern superhero book (done with precision and admirable clarity by MJ Kim) can't save this bloated and meandering narrative.

Writer James Haick III's new series is unfortunately all over the place.

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.

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

Moments of greatness can be found in the art by Dio Neves but overall it cannot overcome the general lacklust in the narrative.

Sadly a good first and final page don't make the whole story worthwhile just yet.

Despite minimal action Maleev manages to make the static imagery of its leads conversing for much of the pages to be engaging, continuously creating mood in ways that the prose itself simply cannot, not to mention the ever confusing web the story creates anyway.

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.

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.

If you're after a quick rush of 90s nostalgia in the form of a brand new comic, it would be difficult to top Ghost Rider: Return of Vengeance #1.

In the end it's another Spawn book, and that's about all that can be said.

An interesting ending can't save this either though as it will almost certainly be squandered eventually.

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.

Mike Mignola and Chris Roberson's latest collaboration continues to largely be a shrug for the larger Hellboy universe.

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.

Vibe #1 isn't a mess like some debuts have been lately, but it's not that close to being a comic I would get excited for every month. The artwork is fine for what it is, but the story is boring and forced at times. It plants a lot of seeds for an awesome future, but I have my doubts I'll be sticking around to see it.

There's a lot going on here and it doesn't always make sense, but MacDonald's art does keep it interesting even when a page seems to be almost exclusively text.

Paul Robin and Andy MacDonald's sci-fi/horror hybrid continues to be ponderous and weighed down by its text.

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.

Second Chances has a lot going on and writer Ricky Mammone clearly has a tremendous grasp on the world they've created but at times it feels like reading a very wordy sign on the highway while driving over the speed limit.

Where Second Chances really stumbles in the economy of its storytelling which goes all-in on its least interesting character and does little to make his POV very interesting.

Todd McFarlane's latest is a classic standalone story that was the bread and butter of the character before his mythology got too complicated.

Writer Rory McConville takes the reins from Todd in the latest Spawn and the difference is noticeable only in that the prose doesn't resort to being juvenile, it's still as lengthy and wordy as ever.

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.

Paul Levitz' revival of the Valiant property reaches a fever pitch in an issue that highlights the highs and lows of the series as a whole.

Uncanny X-Force is the kind of comic that will either really please or disappoint fans, there isn't much middle ground here. It feels like a rushed and silly debut issue that moves so fast, it's hard to even get a grasp for what is going to happen or what will happen. I hope this series gets more interesting. The characters in it are too good to fall into oblivion.

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.

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

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.

I was pumped for Morbius, and while it's an interesting start, overall I was let down by it. It's not that I got so worked up about the comic that it didn't meet my expectations, it's just kind of boring. Some of the things in the comic are a lot of fun, but the plot threads and retreads inside it just didn't do it for me.

The usually reliable Roland Boschi delivers the pencils here, and his heart is clearly in the designs for Albert himself as the work done in the robo-Wolverine are the real highlight. Everything else though feels largely forgettable.

The advantage of Machine Man's tie-in to the Iron Man 2020 event is how seamlessly it brings the reader up to speed with just what the heck it all actually means.

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.

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.

Overall though there's not much going on that makes this nearly as interesting a crossover as Archie's darker corners, and in the end it just feels fine.

Artist Jonas Scharf is at his best when drawing the grotesque and monstrous, luckily he gets a chance to do that here more than once.

Avengers of the Wasteland isn't an "Old Man" comic so it's not playing by that type of story, instead it's working on building a legacy of hope in this hopeless world, but I don't think it's working.

It's a fun enough read as artist Carlos Magno continues to do good work, but the trouble is it's still mostly just noise.

Writer Jed MacKay throws some fun ideas in the final story, including alternate versions of the Avengers that are awesome with a Capital "A," but the premise is almost entirely gone.

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

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.

Johns story continues to plod along with limited intrigue into the larger scheme of the villain and the Bat-family, but with a few developments that may elicit a surprised "huh!" from readers and one in particular that might incite an online riot (for no narrative reason).

Now, if you're like me and hate these ridiculous call back references to the original story planted within the 'prequel' story then this book will more annoy you than entertain you, and if for some reason you don't know how Dr. Manhattan operates in Watchmen then this is a good introduction but there's nothing of substance here that you haven't read already.

If you like Nite Owl, I'm sure you'll like this comic, but I was rather disappointed with it all. It seems rather rushed with little time put into careful plotting and creation. I realize the story has to be set up in order to tell what will happen in the rest of the mini-series and I hope this one gets better, but for now it's a real swing and a miss.

Couceiro has a blast making these beasts seem gnarly and vicious though, gleefully exhibiting the carnage and gore that comes from their bite radius on bellies.

Patrick Foreman & Brian Hawkins' series continues to be a fun read but three issues deep Black Cotton hasn't yet moved beyond the initial elevator pitch of its world of reversed racial dynamics.

After its awful second issue Checkmate finds a balance between servicing its narrative that made the first so strong and also the confusing time jumps that made its second so weak.

Checkmate #4 is an improvement on prior entries in the new series but so far this series has done little to really make a dent on the history of these creator's collaborations.

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.

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.

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.

Overall there's enough of an interesting set up to keep reading but it has a Mark Millar like nastiness to the tone that doesn't always land.

Though previous issues have been deeply unpleasant in characterization, and frankly issue #3 treads that ground as well, the series does finally land on better footing than predecessors.

. Artist Marco Failla does good work with the many characters and settings seen throughout but in the end it's mostly a middling narrative that might only appeal to super fans.

There's no hook into the larger scheme of Dark Agnes, and perhaps a purely standalone title will be a draw to some, but so far it feels like a half-baked idea that is looking for purpose.

There's fun to be had in this new book.

A ten part experiment on being silly, DC Cybernetic Summers a series of stories that are seemingly out of canon and thus more equipped to be ludicrous and frontloaded. Though these antics works for some of the tales, others fail to inspire.

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).

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.

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.

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.

If Detective Comics #1023 was the enticing set-up for a larger narrative, Detective #1024 is where they realized they'd used up most of their story already.

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.

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?

Master storyteller Joe Hill lays a unique groundwork here, setting the stage for his cop-turned-comedian story with a slew of off-putting jokes that frame his lead character in a proper fashion for this neo-noir.

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.

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

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.

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.

In a one-shot that seems designed exclusively to catch up readers on who the heck these characters are before a new movie, writer Ralph Macchio, penciler Ramon F. Bachs, and colorist Rachelle Rosenberg attempt to channel much of Jack Kirby's initial run on the characters, albeit lacking in the dynamism and boldness that made his work so memorable.

Giant, insane monsters and mutants abound, so if his run on the ongoing series will be this bananas it will be worth looking at.

In the end Geiger feels like a big premise that acts new but is derivative of a lot that has come before it, fun to look at but very little to surprise a reader.

Geoff Johns and Gary Frank's new series makes a slightly better case for the humanity at the heart of its story but once again feels like a work derivative of post-apocalyptic, even Las Vegas-set, stories.

Geiger #3 does finally bring the series to a potential new path but we'll see where the trail leads.

Gunslinger Spawn continues to navigate the convoluted world that Todd McFarlane has created with a cavalier attitude for the larger mythology.

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?.

The storytelling density is a hindrance at times (a major motif of the world is relegated to the back when it should probably have started the story), but by the end a fun world has been established with an interesting hook.

I maintain that a lot of the first issue of Heavy was very off putting in a 2010s Mark Millar kind of way, but its sophomore effort shows how the series is able to balance that with the actual narrative planned by writer Max Bemis.

The Secret of the Chesbro House didn't re-invent the wheel for Hellboy but is a nice distraction for fans of the character.

Mitten's work is at its best when he can be moody and draw beasts, but sadly he has to draw a lot of people standing around talking which is far from his strong suit.

It'll be a bummer to see this series end, what this has proven is that the Big J can carry a solo book with ease.

Sydney Duncan has plotted a thoroughly pulpy western with this new series, featuring all the hallmarks of a gritty southern-set shoot em up though some might be a hair cliched.

The strength in Kill Whitey Donovan's narrative is how it's able to subvert the lifestyles and traits of Civil War era America, specifically the losing side.

In the same way that a buffet line might offer an attendee a few choice items in a row for their plate followed by several dishes no one wants, King Spawn works in spurts when allowed to break free from the 300+ issues of continuity and work as its own series.

In case the first issue wasn't enough to turn off anyone uninterested with his trademark humor, Garth Ennis ramps it up to 11 in the second issue of the series which also manages to expand on its still-in-progress lore in a unique way.

Overall it's a fine piece, but nothing about it screams 2099 like one would expect.

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.

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.

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.

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.

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

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.

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.

Artist Walter Ostlie does great work with the sequences that keep the action still, but moments of swift movement and combat don't really work and are difficult to navigate. In the end it's a fun read but sometimes stale.

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

Saladin Ahmed maintains a clear understanding of what makes for fun Spider-Man stories, specifically Miles stories, crafting a narrative here that is a fun version of The Warriors with the webhead.

It's not reinventing the wheel, but it's a satisfying tale that works. The overall hang ups stem from the inconsistency in the art, with Ray-Anthony Height, Z Carlos, and Beln Ortega splitting duties with varying degrees of success.

Ahmed continues to make a compelling case for his ability to blend superheroics and modern, meaningful politics as well, balancing them like few others can.

After the culmination of 20+ issues previously, the latest Miles Morales: Spider-Man takes things back to basics and even though a smaller story is welcome, this one doesn't hit all the marks.

Though not exactly a stumbling block, Miles Morales: Spider-Man #32 largely feels exactly the same as the previous issues.

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.

Even with the huge amount of set-up that this issue offers for a later date it never feels like a necessary read even if you're a fan of either hero on the cover.

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.

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.

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.

Building off the disastrously wordy first issue, My Date With Monsters has found better footing with issue #2 but it still can't shake the subplots that are leading to nowhere just yet.

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.

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.

Worth a look for all spider-fans but not for everyone as a piece of reading material.

Like the first issue this is one that die hard webheads will find interest in, but it's probably not a storytelling motif that will catch on with every other title.

The surprise final issue of Non-Stop Spider-Man goes out of its way to put the wall crawler in the corner and for that writer Joe Kelly has stuck the landing with a book that has largely been hit or miss.

Though the charm of Gaiman's version of the fairy tales begins to wane as the issue carries on but by the end of this issue's tale its hilarious conclusion makes the build-up worth it and proves his mastery as a storyteller.

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.

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

The return of the Power Pack from writer Ryan North and artist Nico Leon makes for a pretty painless debut issue, delivering the thesis of the series and an explainer on the character for newcomers in a fun fashion.

Abnett continues to write compelling characters and interesting new locales, while Ryp's artwork is unmatched in monthly comics, but there's a lot of empty space that perhaps could have been filled a little more.

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.

There's enough interesting ideas in the story to carry it, and for the most part the art looks fine, but fleeting moments of stiff character work stick out like sore thumbs.

Johns' run with Earth's Mightiest Mortal is starting to hit a standstill.

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.

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.

The wheels spin on the actual narrative in this issue as McFarlane gets the pieces in place for what will surely be an explosive final issue of the "Hell Hunt" arc, but for now, lots of standing and talking.

The wheels end up spinning here but at least they're nice wheels to look at.

Todd McFarlane remains beyond parody in his own books as Spawn #313 sees the return of classic characters and truly goofball moments like Gunslinger Spawn calling a motorcycle a metal horse and the full reveal of the "big red" Hellspawn character he's been teasing for weeks now.

Todd McFarlane's latest story reaches what should be a big fever pitch, something previous issues have been spinning toward for months now and it fails to impress.

For all recent Spawn comics that felt like wheel spinning on the plot, Todd McFarlane makes sure that issue #315 has all of the action you thought you might have gotten over the last four issues crammed into one.

At this point each new issue of Spawn should come with "It's what's on the tin" on the cover because the amount of surprises are minimal and the amount of Spawns never disappoints, at least this time around there's a new one.

This month's issue is at least more memorable from the last since it's not tied down into the larger building up of Spawn's Universe and the upcoming spinoffs to a detrimental degree, but on the other hand it does feel very much the same as...well any other issue of Spawn you've read.

Todd McFarlane's prose-heavy style of comic writing remains a tedious thing to read at times, especially when an issue is packed to the brim with it, but sometimes you get an issue that actually has structure and pacing, where Todd's words build to something. Spawn #323 is an issue like that, though that is only very interesting in part.

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

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

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

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.

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 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.

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

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.

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.

Bryan Hitch brings his trademark writing and art styles to this unique take on the Flashpoint story, which features the traditional highs and lows of his work overall so your mileage will vary.

A fun tee up for the next issue manages to maintain this one as a fun read, but a roadmap is needed to make sense of this one.

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

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.

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.

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.

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

Writers Kyle Higgins & Matt Groom have to cram a lot into twenty two pages and it slows down the flow of the narrative exponentially. Artist Francesco Manna continues to kill it even in the face of a ton of dialogue balloons.

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.

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

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.

There's still not really anything happening in The Scorched that we weren't already getting in the flagship Spawn but for fans it will be a treat.

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

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.

Higgins and Groom's story takes a unique turn but the ever escalating mystery aspect of the narrative has started to become a chore.

The ideas in this series are fun but there's not enough time to dig into all of them and satisfy the thirst of kaiju punching too.

Overall it's an interesting web to be spun, but doesn't play to the strengths of this franchise in a meaningful way.

The techno-babble plot can be left at the door but it wouldn't work at all without the visuals they bring to tie it all together.

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."

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.

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.

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.

Where it struggles is in breaking form this issue, tilting characters like a dutch angle in cinema that seemed to be an interesting attempt but one that didn't work.

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.

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.

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

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

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.

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.

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.

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

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.

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).

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.

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.

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!"

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.

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.

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.

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.

Artist Christopher Mitten's line work depicts a disheveled world, though perhaps intentional, it never quite works and makes the Witchfinder series as a whole one of the weakest chapters of this franchise in a visual sense.

Perhaps overall this is a step above volume 4, but Witchfinder seems to not work much on his own.

The pieces are finally together in this series as the two issues worth of droning exposition are out of the way and it's pure plot from here on out.

In the end this experiment of offering a story from a throwaway line in a comic years ago doesn't seem to have worked overall beyond connecting further threads.

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.

Trying to make a character piece out of someone as flat as The Comedian was a difficult task for Brian Azzarello, but he tried and he doesn't totally fail. While the concept is a good idea for a book, it just seems to lack the spark of greatness that we've come to expect from Azzarello's work. It's not a total loss since it's the first issue and maybe it will serve better as a completed miniseries, but I'm expecting something more from the rest of the issues and I hope I'm not wrong.

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.

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 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.

Detective Comics scribe Mariko Tamaki spins off her story into a one-shot that makes me wish she was also writing a Huntress solo series.

An improvement over the first issue, I can't help but wonder if the big picture of the entire series might improve the reading experience of this as a whole.

About the only trouble with Black Cotton #2 is there's a lot of page space devoted to some things that feel like filler in the grand scheme of the story, but in the end it's all good to look at and a dynamic read anyway.

Like the previous issue though the wheels feel like they're spinning, with the series not yet moving past the core concept into something bigger.

The larger plot finally pushes forward in unexpected ways though making this the best issue yet.

The Patrick Foreman and Brian Hawkins created and heavily Twilight Zone-inspired series comes to the conclusion of its first arc, bringing just enough of that Rod Serling flair for an ending that we can call it a landing that was stuck.

Cable and X-Force is a unique comic because it has the heroes becoming the 'bad guys.' New readers shouldn't worry about not being able to understand it, because it's fitted perfectly for newcomers though they may not fully appreciate the characters if they don't know their histories. Hopeless has a great team in this series in both the characters and his artist. This comic is interesting because it doesn't sound or look like anything else Marvel is doing. If you're looking for comics with superheroes that don't exactly feel like superhero comics you can do better, but there's a charm this one has that you won't find anywhere else.

A fine issue for longtime fans but not the best of the larger series.

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.

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.

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 hoot, and will keep readers happy while the Blood Hunt carries on.

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).

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.

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.

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.

Writer Jeff McComsey injects the right amount of a Men in Black-style introduction into this world that the idea immediately feels well constructed but frankly it gets a little overwhelming when the nonsensical space jargon starts to fly.

What Fraction has crafted here really feels like a family though. Even if this comic is connected to the upcoming FF relaunch, it doesn't feel like half of a story. Big fans of the series will really enjoy this, but newcomers might leave a little more to be desired. Don't expect anything from this that the Fantastic Four has never been, because it's not a drastic change to anything.

Geoff Johns & Gary Frank's post-apocalyptic tale does its best impression of George Miller's Mad Max this time around, and though it's probably the best issue of the series so far it's still entirely derivative of what came before it.

This series is so bizarre as it tries to bring so much to its subgenre without actually delivering anything new, thankfully Frank's artwork is still unbeatable and makes it fun.

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.

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

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.

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.

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.

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

In what has been a staggeringly disappointing entry into the World of Hellboy, The Silver Lantern Club #4 offers the best story yet from this mini-series.

Writer Gregg Hurwitz approaches this material with all the subtlety of a hammer to the face but in the same way that Garth Ennis' The Boys is a satirical send-up that is routinely in your face.

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.

In the end it's solid start but those turned off by Ennis' antics won't like what they find.

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 short, this is for uber-fans only.

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.

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

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.

Mister Terrific is a lot better than I expected. It has a great story, good writing, manages to tackle social issues in a way only comics can, and a surprising set of interesting and diverse villains. The art though isn't the greatest, some issues are better than others, and if the inconsistency in the drawings doesn't upset you then the fact that there's not ever going to be a Volume 2 might.

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.

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.

With things brought to a bit of a halt this feels more like a traditional Spider-Man comic than anything, which is fine. Chris Bachalo remains one of the most underappreciated artists at Marvel, bringing a raw energy and unique look to characters and environments that are so seldom dwelled on by others.

Joe Kelly's Crank-like tale of the friendly neighborhood Spider-Man reaches the best incarnation of the title's pitch in its fourth issue.

The real trouble is that there's no proper ending for the start of the tale nor a seamless cliffhanger.

If you're looking for something to start reading that is a character you haven't seen in a movie and has a different feel to it compared to the other hero comics, then Nova is a good start. Loeb's grasp of the characters are the best part of his writing, while the plot feels like a street covered in fog. The artwork by Ed McGuinness is pretty jaw dropping at times but often feels cluttered and out of place. If you've been following this new character since he first appeared in Marvel's comics, this debut issue might bring up a lot of unanswered questions as it did for me, but it gives you plenty of reasons to come back, especially with the ending.

This issue makes one thing clear though, North is best at writing Power Pack as a group talking through their problems and acting in their familial roles rather than as the heroes, which is fine but somehow less interesting overall.

In the end, fun which is all the book ever set out to do.

Proctor Valley Road will stand out as a unique piece of Morrison's bibliography.

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.

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.

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.

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

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.

It's a weird looking one at times, almost cartoon-level brightness, but a fun read.

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.

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.

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.

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.

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.

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

Writer Johnnie Christmas' ambitious perhaps gets the better of him in spinning the narrative of this particular story in around 26 pages, but even if it's confusing throughout it's still compelling.

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.

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.

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.

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

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.

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.

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.

In the end, it's fun though, and sets up the stage for the next chapter well.

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

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

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.

In the end, this is a series to keep your eye on because the good will it earns with Panciroli's artwork in"Do You Like Ghost Stories?" cannot be overstated.

Writers Kyle Higgins and Mat Groom kick off their second volume of Ultraman comics with Marvel and have already exceeded their work on the "Rise of Ultraman."

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

I understand that a #1 issue should set up the premise of the entire series, and Uncanny X-Men does that, but the amount of information it does a retread on from other X-Men issues released just weeks ago is almost offensive. I have faith that Bendis won't keep this up and turn Uncanny into its own title, but for the time being the only thing that will keep me reading is Chris Bachalo's amazing art.

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.

Venom seems to be headed toward a new future without depending on Eddie Brock, but it might take a while to get there.

Hitch's artwork has been at its best on the title when he's doing weird and wacky, and Venom #4 has that in spades.

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.

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.

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

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.

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.

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.

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

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.

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.

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

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.

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 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.

In the end it's just too weird and silly to ignore overall though and has to be seen to be believed.

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.

Wolverine isn't the be-all-end-all of "Wolverine" comics, but it is certainly trying to craft its own unique story for the character's mythology. As far as debut issues go, this isn't going to rock your world, but it could end up being a really neat arc for the character.

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.

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.

Mike Mignola and Thomas Sniegoski's Young Hellboy reaches the moment where it really starts to feel like a proper part of the "MignolaVerse" canon, as the seeds for Hellboy's antics as an occult detective are clearly rooted in how he sought adventure as a child.

Young Hellboy's beginnings made it seem like perhaps this series could quickly become a well developed chapter in his life through other mini-series, hopefully they don't all paint by numbers like this one did at the end.

Bendis knows a thing or two about these characters and he is really at his best writing their interactions over combat sequences. This comic squeezes a lot of stuff into one issue and does the opposite you'd think by spending more time on plot points we've seen before and glossing over the new story threads, which might make your head spin. I'm sure by the end of this arc we'll have a fantastic story inside All New X-Men, but as far as the first issue goes it leaves some elements to be desired.

Indestructible Hulk is a good debut issue. It may not have all the elements that fans want from the start, but it's building towards a run that I think will leave a lasting impression.

The Superior Spider-Man has a really ambitious plot that works surprisingly well. It's a well-written story with good touches of character, but the artwork just isn't up to par for what's going on here. Spider-Man purists might not like what's going on, but it seems like the future holds something bright for them.

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

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.

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

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.

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

Writer Brandon Thomas pulls off a tremendous feat with Aquaman: The Becoming #4, making an issue light on action and heavy on character background and an extensive dialogue exchange compelling and fun to read.

The cover for the series now bears a strip at the top calling it a "Prelude to Aquaman," and though to this point Aquaman: The Becoming has been strong enough that simply labeling it as precursor to the next thing would feel reductive, this issue does lean heavy on set-up.

Fans of Zack Snyder's Justice League should keep an eye on this one though as it brings a key piece of his version of Aquaman into the mythos, setting up the all-new series that promises to be a must-read for the two characters.

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.

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.

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

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.

The first issue of Avengers Arena is solid. If you think that you won't be able to read it due to your sworn allegiance to The Hunger Games or Battle Royale you should take a deep breath, put that aside, and pick it up anyway, it's a great read. Hopeless juggles a wide cast of characters with ease and Walker's art has us eager for the rest of the series because he draws the brutality beautifully. Marvel has a golden opportunity here to tell a great story and show that they're capable of killing of characters and not bringing them back magically. Let's pray they don't mess that up. 

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.

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.

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.

Even though only some headway is actually made in terms of plot in Batman: Three Jokers #1"learning little readers didn't already know"there are still surprises to be found.

Before Watchmen: Ozymandias was a great read. I'm excited to see where this one goes and I really hope it doesn't start spreading into territory that made Comedian and Nite Owl boring and uninteresting. As long as Wein keeps up the cool, collected attitude of Veidt and Lee keeps crushing the art, it should be a great read.

Though I won't spoil the ending for Before Watchmen: Silk Spectre for you, I will say that I have a fear that it will be a predictable series in the long run, but I do hope I'm wrong. I'm also afraid that even though next week's issue Before Watchmen: Comedian is written by Brian Azzarello that I've been spoiled by the goodness of Darwyn Cooke and Amanda Conner. The product so far doesn't rival Moore and Gibbons' original, but it's a very valuable companion piece and absolutely worth checking out.

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.

The mystery deepens and this one continues to get better.

Beyond the Breach pulls the curtain back to bring more context to its first volume, delivering an origin of sorts and an explainer of what the hell is even going on. The trouble however is that the straight man of the series isn't nearly as compelling as their fantastical counterpart.

Artist Damian Couceiro gets to stretch his legs in a big way wit the final chapter of this arc of Beyond the Breach, delivering a unique flair for one sequence that gives this conclusion a visual punch that it was building toward narratively.

Big Girls #3 delivers perhaps the most dynamic action of the series so far, allowing him to show off his artistic talents like a flexed muscle at Mr. Universe, and the judges applaud him for it.

Jason Howard's series continues to remain steady in terms of quality of art and narrative intrigue.

The best aspect of Big Girls is how unpredictable it remains even through the final panels, it's a comic that continues to reward us.

Patrick Foreman and Brian Hawkins' Black Cotton flips our entire world on its head in a simple way, delivering a biting alternate history where racial dynamics in America are reversed and the killing of a white woman by a black police officer sparks "White Lives Matter" protests and worries from a decades old family about protecting what's theirs.

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.

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

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.

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

Despite a rocky start, Concrete Jungle is shaping up to be a wholly unique and interesting series in the long run, but issue #4 is where they really start cooking with gas.

Infusing a vampire tale with a deep lore of hell, plus war stories and voodoo, there's something here for everyone with a taste for horror.

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.

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.

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.

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

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.

Peter J. Tomasi continues to do stellar work in Gotham City, delivering a tense and harrowing tale that could easily have been set-up fodder for the upcoming "Joker War" crossover event.

Simmonds once again elevates a decent story idea to new heights with his scratchy art, giving the world a unique edge and palette that makes it shine.

Dying is Easy is finally at a place where it's fun to look at and to follow, and if it can maintain a consistency like this it will be a fun series for years to come.

Joe Hill's neo-noir mystery continues to ride high in the latest issue but is at its best in terms of its narrative when it's focusing strictly on the characters at play and their interactions.

Joe Hill and Martin Simmonds modern riff on Sherlock Holmes comes to a satisfying conclusion, sticking the landing on a series that had a shaky start with its first couple of issues.

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

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

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.

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.

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.

Artist Ben Oliver gets a lot to play with as well but its his ability to make the two characters maintain their iconic styles throughout that makes this one really work.

Frank's work continues to be great, action beats in this issue are superb, and the best thing about the series as a whole.

Though the Geiger series itself had its fair share of ups and downs, the 80-page-giant seems like it should have been the first thing out of the gate for this new universe from Geoff Johns.

Have fun with this one because Todd clearly is, and artist Brett Booth delivers both wonky physical features in some panels but also some breathtaking splash pages that let the title hero go nuts.

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.

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

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.

I was as ready as anyone to ponder the easy cash grab of a non-super powered Gwen Stacy solo series, but it quickly won me over. There's no cynicism here; it's all sincerity.

Gwen Stacy remains as compelling and interesting as ever as well, with fun beats for obscure and fan-favorite Spider-Man villains as well.

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

Mignola remains sharp as ever in crafting the narratives for these short stories featuring Hellboy and still manages to throw surprises in there just for good measure.