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.

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.

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 Rick Remender and artist Andr Lima Arajo have crafted one of the best first issues of the year with A Righteous Thirst for Vengeance #1.

The intrigue that Rick Remender laced in his first issue of A Righteous Thirst for Vengeance is built up and out in the follow-up, giving us enough answers to clear the picture up but offering even more mysteries that the plot continues to feel fresh.

This is a masterclass in comic book storytelling so far.

You have got to be reading this series if you like comics.

Fans of crime dramas like Breaking Bad that need their itch scratch should look no further than this dynamite series.

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.

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

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

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

A Righteous Thirst for Vengeance is a gift.

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

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.

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.

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.

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.

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

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.

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.

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

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

Though readers quickly learn that the first pages aren't exactly what they seem, they do lead into the parts of Becoming that work best, Jackson Hyde's relationship with those around him.

The Becoming #2 is perhaps light on its titular hero than some might desire but it makes up for it with an engaging structure that keeps you guessing.

Aquaman: The Becoming is a clear team effort as writer Brandon Thomas, penciler Scott Koblish, inker Wade Von Grawbadger, and colorists Adriano Lucas & Alex Guimares all work in tandem to bring this ambitious and fun series to life.

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.

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.

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.

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.

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.

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.

Hickman is starting off his run on Avengers strong. While he takes a less is more apporach in the writing and a bigger is better in terms of the cast, they both have their advantages and work in favor of each other. Opea's art is the main selling point though, because it is without question the best artwork from Marvel NOW! If you want to get into the Avengers, you need look no further than this and it helps that it's a great read.

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. 

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

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.

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.

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.

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

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.

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.

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.

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

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.

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.

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.

This is more then just a superhero comic. This is a tale of a father and son at odds with each other, an age old premise that's been done a million times over but not with this kind of spark. Batman and Robin are one of the most iconic pairs that have ever existed in American culture and while this story respects that, it takes them, simply put, beyond it. We've seen Bruce acting in a parental role for the previous Robins before yes, but here his real parenting skills are put to the test. If you've had your appetite whet by Scott Snyder's Batman comic and need more, buy this. I couldn't put this down when I was reading it and it made me very upset that I hadn't been picking up the issues of it from the start of the reboot. Batman and Robin rules the night.

While the comic is sometimes wordy and the first few pages of set up seem to drag Batman: Death By Design is a really good read. It has all the components that many would consider vital to a good Batman tale and its art is top notch. I'm hoping in a year or two we can get a good follow up to this. I like seeing 40s Batman with modern influence.

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.

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.

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).

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.

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.

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 Before Watchmen: Minutemen is representative of the quality of work that we will be getting from the rest of the series, then consider me signed up. If not, then at least we'll be getting a quality Minutemen comic. Do you consider yourself a fan of Watchmen? Ever wonder what life was like for the original heroes? This is the series for you and not just because you like the original or the characters, because it's a good comic.

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.

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.

Before Watchmen: Rorschach is one of the best first issues of the entire run, and with next week's Dr. Manhattan series being the last to debut, it will be a while before you read anything on SuperHeroHype about the prequel series, but rest assured we've got more to say. While you wait though, go read this Rorschach book, it's damn good.

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.

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.

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.

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.

With Big Girls #1 Howard has made a point to deliver a world that feels fresh while also flipping the script on comic characteristics, and making sure to paint an explicitly political stance.

Take a chance on Big Girls folks, it's got something to say.

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.

One image in particular gives the reader a better idea of how this world looks from Ember's POV but also underlines her emotions in the moment. Masterful work continues to be on display here.

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.

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.

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.

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.

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.

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.

Where this comic gets it right is in the character himself. The action scenes look fun, but they don't hold a candle to the rest of the comic. Captain America #1 does what the best of the Marvel NOW! comics are doing, it's trying to tell it's own story without worrying about tying into every other series or appealing to the casual fan with cameos.

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?

As is typically the case, your mileage may vary with Bendis' brand of humor but since story features a lot of characters he hasn't put his mark on in a big way it's fun to see this time around.

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

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.

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.

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.

An out and out war comic, the book fits right in with the Baltimore titles while artist Peter Bergting brings this insane combination of soldiers and witches to life.

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

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.

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.

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.

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.

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.

This trio are onto something special.

. 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.

It would be easy to think with the length and messiness of the Dark Nights story that there would be one shot that could encapsulate so much of the narrative into a digestible state and also be a primer for a fan-favorite character's place in it, but Dark Nights: Death Metal The Secret Origin #1 does all of that.

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.

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.

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.

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

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.

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.

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.

Now since I'm not the best scholar for Deadpool in the world, I could be in a minority here, but I think this is the best way to take the character and reintroduce him to the world. Many will lament at the changes to the character, whose inner monologues are notably absent here, but why say in three speech bubbles what you can say in one? This was definitely added to my pull sheet today, I drank the kool-aid.

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.

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.

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.

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.

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

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

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

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

Mike Carey crafts a Fantastic Four tale that feels entirely new and also so classically ingrained in the characters that you'll wonder when it was first published.

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

I was really surprised by this book. I'll admit that I wasn't all that excited for it in the beginning and I'm all turned around. FF is one of the most interesting and well-written comics to come out of Marvel NOW! and you should be reading it.

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.

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.

New Superman writer Phillip Kennedy Johnson once again proves that his taking over the two main books for the Man of Steel was a tremendous decision on the part of DC Comics, delivering one of the best epilogues to the entire legacy of the character that's been printed.

Writer Phillip Kennedy Johnson's take on a post-Superman world is an intriguing meta-examination of the DC hero and what he means.

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.

In a word, it's spellbinding.

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.

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.

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

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.

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.

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.

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.

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.

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

Guardians of the Galaxy #1 offers a great jumping on point for interested fans and its ensemble cast of characters, with one of the best writers in the business putting words in their mouths, will keep you grinning from ear to ear while reading it. It's gorgeous, well plotted, captivating, and one of the best comics I've read this year.

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

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.

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

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

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.

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.

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?.

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.

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

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.

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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

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.

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.

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

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.

Hughes does a tremendous job bringing Big Red to life while also breathing real life into Mignola's monsters. Really the only trouble is that this didn't come out sooner so you could read it on Halloween.

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.

"Secret of Chesbro House," though not feeling derivative of previous haunted house stories in this world, does feel familiar but the unbeatable duo of Mignola and Golden make this a more rewarding read than others in the line.

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.

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

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.

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

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.

The next chapter of the Hellboy and the B.P.R.D. yearly saga begins with a tale that brings together much of the franchise in one of its most poignant stories in recent memory.

Campbells artwork, bolstered by Dave Stewart's colors, make this a must read for franchise fans but the blueprint of how Mignola's writing unfolds leaves no room for surprises.

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.

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.

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.

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."

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.

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.

Tremendous work all around.

This Hellboy series continues to live-up to the promise of everything you want out of a story in this world, and it helps that it was one previously written as a prose piece, but the heavy explaining of Mike Mignola & Christopher Golden's narrative does weigh down parts of this one as the exposition is needed.

The adaptation of Mike Mignola and Christopher Golden's Hellboy prose novel continues to be a fantastic read, but the shortened amount of issues feels a bit of strain on its narrative in The Bones of Giants #3.

What makes Bones of Giants so remarkable is not only how seamless it fits into the larger publishing line for the character but how welcoming it is to newcomers too, giving readers with no concept of the larger mythos a great entry point into the universe.

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.

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.

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

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.

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.

This new one-shot form writers Mike Mignola and Christopher Golden and artist Peter Bergting is a fun path that expands on a magical side of the universe that has previously been unexplored.

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.

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.

Batman: The Smile Killer follows suit, picking up the reins where that series ended in a fashion, but this issue is able to capitalize on the ideas of its predecessor in a more interesting fashion to greater effect.

Journey Into Mystery is the kind of thing Marvel wanted with their 'Point One' campaign many years ago, an accessible story in an already established series that can draw in new readers. This is the kind of comic that stands out from the rest of their comics both because of it's content and it's female protagonist. This could quickly become one of my favorite comics Marvel is currently making.

This new series starring the Juggernaut puts the iconic character in a modern context that suits him perfectly.

Another mostly self-contained adventure, this issue has the hallmarks of classic comic book narrative in that regard, an ethos that seems to be driving the series as a whole.

Garney's work continues to be elevated by colorist Matt Milla who makes the big splash pages of the issue really sing.

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.

Fabian Nicieza and Ron Garney's new series comes to a mostly satisfying conclusion, wrapping up an unexpected and moving narrative featuring the titular villain turned do-gooder.

Justice League of America has quickly jumped to the top of my read pile every week. Johns' signature writing style will keep it interesting for as long as he remains on it and he's setting up enough potential stories for the future that the well won't be going dry anytime soon. Plus, he's at his best when he's writing ensembles of characters and the cast here doesn't get as much love as they should.

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.

Katana #1 is as good an introduction to the character as you're going to get. Those unfamiliar with her that have interest, or are simply looking to mix up their pull list, should really consider checking it out. There aren't a lot of comics out there that prominently feature ninjas and Katana is changing that.

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.

This is the best issue yet and I think it can stick the landing after a shaky take off.

Overall, it's a solid series with a gripping story.

Barahona's colors remain a high point for me, giving the story its signature look in what can best be described as Blade Runner 2049 by way of True Grit

Artist Javi Fernandez taps into the mood and violence that fans so often expect from Spawn titles and frankly this is a good jumping on point for anyone that has a passing interest and wants an entry.

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.

It has taken King Spawn three issues to really hit its stride and not feel like a total retread of the regular ongoing series, but it has finally done it.

King Spawn continues its trend of feeling like an extension of the flagship series but without the... ahem... chains that come along with that.

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.

The Santa Clause meets Batman by way of The Boys continues to be wild as hell but perhaps the biggest crutch that the series has is writer Gregg Hurwitz overloading each page with text.

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.

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.

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.

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.

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.

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.

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

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.

Even with no frame of reference for Baltimore, Lady Baltimore is a comic you need to consider as it hits all the right notes and plays them with finesse.

Mike Mignola and Christopher Golden's new spin-off of their Outerverse series continues to impress, delivering another knockout issue of what's already an outstanding new comic.

Writers Mike Mignola and Christopher Golden continue to carve an amazing new path in their Outerverse world of comics, offering a rewarding read for longtime fans but still making it accessible to those that may have just started their journey.

This issue is a must read for fans of this storytelling world too, even if the series as a whole is not to be missed, but all the threads come together for a rewarding read for everyone keeping up with the Outerverse.

A larger narrative thread keeps this one from being perfect, and a bite confusing, but Connell's visuals make it all worth it.

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.

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

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.

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.

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

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.

Marvel fans with a broad knowledge of the Marvel Universe won't find many surprises here but it's as decent enough of an elseworlds set-up that feels familiar for long time readers and manages to remain engaging for newcomers.

Adapted from the acclaimed podcast series, Marvel's Voices does what any good anthology comic would do, tell unique and interesting stories in quick and fun ways.

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.

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.

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.

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.

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.

Always accessible, always relatable, always in peril.

Saladin Ahmed continues to hit home runs with his take on Miles Morales: Spider-Man and the latest issue is nothing short of genius understanding of the character.

The balance between Miles' personal life and the civil/superheroics of being Spider-Man is done to perfection by the writer but artist Carmen Carnero helps with the heavy lifting in this issue.

Writer Saladin Ahmed continues to keep the character and his run in a classic motif, pulling the story along in a way that keeps the mystery going without its lack of reveals feeling like a cheat.

This month's issue also makes things clear in the grand scheme, but resorts to typical "villain explains his motives via monologue," hard to argue that it's still a compelling read though.

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.

Pacing is a clear strong suit here as well as this giant climactic battle features enough participants it shouldn't work in a 22-page issue, but this creative pair deliver an ending like an Avengers movie where everyone gets their fair square of time.

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.

The whole thing is anchored by artist Carmen Carnero and colorist David Curiel, who are able to bring Miles' world into the King in Black aesthetic while still making it all feel consistent visually (though a bit of whiplash compared to the style in issue #22).

It would be easy to dismiss Miles Morales: Spider-Man #24 as filler or a stepping stone, but it's a complete, heart-warming, and necessary story.

The true start of the all-new "Clone Saga" is light on answers but offers enough of a narrative tease that it's clear this won't just be Miles' version of the classic Peter Parker storyline.

Strong start so far.

Ahmed's entire run on Miles Morales has been one to keep an eye on and this is turning into the masterwork of the series.

In the end, this was a strong enough arc that didn't need familiarity branding from Marvel to sell it; it also might be better than the original "Clone Saga" because it didn't overstay its welcome.

Guest Artist Chris Allen does good work filling in, delivering one of the most memorable splash pages in the history of this series that harkens back to the McFarlane era of the wall-crawler.

While the larger Amazing Spider-Man title has become nearly inaccessible in recent years, Ahmed's ability to make Miles relatable, fun, and humble is why this comic continues to be a tremendous read.

Ahmed uses this issue to prove that his work with Miles isn't limited to just reflection and personal meditations, where he excels, but that he can also develop a kick-ass action concept.

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

Bandini and colorist Erick Arciniega deliver some tremendous splash pages, including a double splash that is one of the best things to come out of this series.

The wild and trippy nature of this month's issue lends itself to stylistic changes and varied uses of colors, which they make good use of as a team.

Saladin Ahmed's near-flawless work on Miles Morales continues and with each issue he makes it all seem so easy.

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.

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

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.

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).

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.

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.

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

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.

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.

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.

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.

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

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.

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

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

New Avengers is a wicked cool comic. It's got a really solid story, a fantastic cast, and some of the best art we've seen from the Marvel NOW! relaunch. The only fault in it is the selected style of storytelling which no longer feels like a unique perspective to start a 'Super team' story. In short, it's a great addition to the rest of the titles.

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.

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.

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.

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 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.

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

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.

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.

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.

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.

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.

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.

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

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.

This issue seems to be setting up an interesting take on superhero IP, positioning the title heroes as literal cogs in the machine, it's surprising that they were able to get away with it.

Writer Ryan North's new run with the Power Pack reaches its best issue yet as it rightfully puts the focus and POV of the story in the character that has the most level heard on their shoulders.

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.

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

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

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

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.

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

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.

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

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

If the strength of Proctor Valley Road #1 is anything to go by, this will be a series to keep your eye on, not only because of its many surprises but because it's able to take the familiar and make it feel new and fresh.

The series pushes itself to new limits with both its horror elements and its reality based satire, making for a great read.

Proctor Valley Road is turning into a dark horse for the best new horror comic of the year and issue three is the reason it's in the running.

Colorist Tamra Bonvillain remains the secret weapon of the series, continuously making its environments and characters pop.

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

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.

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.

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

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

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.

Colors by Andrew Dalhouse make it all pop in a way that feels unique from other Valiant titles, and elevates the minutiae of Ryp's art.

Imagine a road trip where every stop is an episode of Black Mirror and you've got this new version of Rai, a new classic in the making.

The same way that Dan Abnett and Juan Jose Ryp's series does not beat around the bush, I won't do it either. I love this comic.

Ryp once again knocks it out of the park, making the extensive expository moments feel just as full of life as the action bits.

If you're in the market for a new obsession with little continuity baggage and a guaranteed good time, Rai will knock your socks off.

Once again, Dan Abnett and Juan Jose Ryp have hit a home run.

Even in an issue that could be described as a "bottle episode," Rai remains a must read.

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.

Though this run on Rai is now venturing more into a month-to-month serialized story than its first issues it's in a strong place to complete a sci-fi narrative that can only be done in comics.

In the end it's a great end point for this one and I'll be eager to see what happens next, the best you can ask for with a monthly book.

Graham's tremendous artwork is hypnotic throughout, as he examines the micro and macro of life that feels uniquely distant and all too familiar.

The only thing slowing this issue down is inconsistencies in the artwork, but it's easy to overlook those with a story this interesting.

Some weird moments in the art do stick out as off or strange but they don't bring anything down in a series that is engaging and fun throughout.

Taking a page from Immortal Hulk and the spooky Archie books, writer Frank Tieri and artists Angel Unzueta and Guillermo Sanna have crafted a unique and necessary story for Marvel comics.