Tom Smithyman Comic Reviews

If you can't take the heat, get out of the…car? 78 MPH spend a lot of time explaining why its characters are in the predicament they're in, but not nearly enough time focusing on the characters themselves.

Writer Cullen Bunn returns to his horror roots with this oversized one-shot tale of a man dealing with a putrid smell emanating from the wall of the house he just bought. It's a strong story that will get you think about the relationships in your own life.

A creative team featuring superstar artist Lee Bermejo is at the top of their game in this time-travel drama. Great writing will have readers flipping through pages at warp speed. The only downside is a $9.99 price tag, though the issue is oversized.

Lee Bermejo is one of the best artists working in comics today - and he brought his A game to this title. Add to that a strong story and you have what is easily one of the best series of the year.

While dead astronauts, dead civilians and a dead planet don't make for an uplifting story, Astronaut Down is the beginning of what should be an interesting allegory for our own struggles with climate change. Some great artwork make the tale all that much more compelling.

After a strong first issue, the series takes a stumble in its second lap. Filled with awkward dialogue and sparse, but unmotivated action, readers are likely to ask what they've gotten themselves in to. Hopefully this is nothing more than a one-issue misstep.

Writer James Patrick turns this entire series around in this issue. By finally delivering some answers to key questions, the story comes into sharp focus and has become compelling. What's needed next is some additional dynamic imagery to bring the book to the next level.

This limited series has finally found its voice just in time for next issue's finale. While the series has been uneven at time, the story of an astronaut trying to save his version of Earth has now become a compelling read.

Captain August is back for more adventures, this time traveling to the edge of the galaxy to help some colonists who are in trouble. The issue has a nice story and artwork, but this first issue concludes without a compelling event to force you to pick up the next issue. You probably will want to anyway.

Despite a few issues with the plot, Benjamin Morse has created an interesting hero in Abraham August and his fight against the evil rebels. Taking full creative control over the miniseries, Morse turns in artwork reminiscent of classic sci-fi heroes. It's a nice tribute to yesterday while still moving the narrative forward.

A good, old-fashioned fist fight dominates this issue. That's not a bad thing, but the aftermath and setup for next issue's finale gives the book an uneven feel. Still the fight is well scripted and drawn, giving plenty of action for readers to enjoy.

If you like a good, old-fashioned fist fight, the final issue of this limited series is for you. Creator Benjamin Morse draws a beautiful mano-a-mano exchange that is exciting and easy-to-follow. Some unnecessary and repetitive dialogue clogs the fight a bit, though, and the battles runs on the long side - dominating more than half this issue.

Some perfect visuals from Tula Lotay make this once digital-only series a must-have in print. Add to that some great writing from Scott Snyder and you have a compelling start to a throwback tale.

Beautiful visuals and a compelling story reminiscent of Bonnie & Clyde bring this 1920's tale of love and adventure to life. The creative team is at the top of their game - and readers get to reap the rewards of their outstanding work.

All good things must come to an end - and this limited series was a great one. They story wraps up in a satisfying manner, complete with luscious artwork. It's easy to understand why this series, originally presented in a digital-only format - won an Eisner Award.

The Black Hammer universe has gotten so big and complicated that it has now entered multiverse territory. And this series ranks up there with the best multiverse stories of all time - from Crisis on Infinite Earths to Spider-man: No Way Home.

While the Reborn series has been a good ride, it turns out that this entire chapter is nothing more than a tease for the larger story's next phase. While that is a popular storytelling technique to pull in an audience, this tale ends without any real resolution. That leaves readers feeling cheated and perhaps questioning whether they return for the next installment.

With all the multiuniversal stories out there these days, you'd think that a creative team as talented as the one behind Black Hammer could come up with something more original. Alas, this latest series in the once-great franchise begins with a sputter because we feel like we've been here before.

There’s a lot left unexplained in this first issue of a new story arc. But the biggest mystery is why this issue ends bizarrely in the middle of a flashback. It’s not a cliffhanger; if just feels like poor planning.

Whether we realize it or not when we’re reading them, most comics have a standard structure to them. Disrupting that structure is either incredibly effective or immensely confusing and unsettling. Unfortunately, this issue, like the one before it, suffers from its non-standard storytelling approach.

This series continues its bizarre habit of ending issues in what feels like an unplanned way. It’s almost as if the creative team ran out of pages and didn’t want to redo their work. If you’re into issues about big battle, this one has a lot of killing, though the illustrations aren’t as strong as they have been.

This series continues its unfortunate and confusing trend of ending an issue seemingly in the middle of the story. As if that weren’t bad enough, the story itself seems to be meandering, teasing some hope for a larger message but constantly delaying it.

This series finally hits on a theme that it’s been teasing since its early issues, but the payoff is tame. It doesn’t make a lot of sense to preach the importance of storytelling to readers of a science-fiction comic book series. We get it. Stories are good. So tell a better one.

This intentionally confusing story arc is finally over. Let’s hope that better things are ahead for this once-promising series, or readers aren’t going to make it through the next arc.

This uneven series finds new creative energy by changing things up. The bounty hunter at the center of the story is now the hunted, without her trusty firearm. The strong story and great visuals are exactly what this title needed to find its footing again.

The second installment of Blood on Sunset takes us back to a vampire-infested LA. Is it worth taking a walk down Sunset Boulevard?

What if a vampire were only in it for the money? That's the intriguing premise of this new series, gorgeously drawn by Patric Reynolds, with the perfect color treatment from Heather Moore.

Atticus Sloane's mission to kill all the vampires he's created over the years kicks off as he tries to take down an MMA fighter. It's a pretty simple story brought alive (or undead) by great art and even more amazing colors.

Unfortunately pairing vampires and fast cars isn't enough to create a thought-out compelling story in a single issue. Fortunately, strong artwork and colors save this installment from the rut this young series has already fallen into.

The series that started off strong, then hit a rut, seems to be correcting itself in this latest issue. By setting a larger story, it is evolving from a monster-of-the-month story to something a bit more connected and meaningful.

After several issues of the same thing, the plot of each installment in this vampire series has grown stale. Some great artwork and colors, though, help to redeem the book.

The second story arc drives this sometimes-tired series in an exciting new direction. Moving away from a "vampire of the month format, the new storyline gives some interesting backstory told with strong art and colors.

It's nice to see a series that has had its ups and downs catch its creative second wind. The entire creative team is firing on all cylinders, with particularly high marks for colorist Heather Moore, who has created a distinctive look for the whole series.

Blood Stained Teeth continues its strong run with a creative team that is firing on all cylinders. The great story and artwork are punctuated by Heather Moore's amazing colors, which have a near-vampiric ability to suck the reader in.

There are a lot of plot threads taking place in this penultimate issue, but the story is straightforward enough to keep up with everything. Visually, Heather Moore's eye-popping colors truly define the look of the entire series.

Blood Stained Teeth comes to a bloody end with this issue. As they have through this entire series, Heather Moore's audacious colors steal the show. That doesn't take away from an interesting story and good artwork, but this series will be known for its use of vibrant colors to tell a story.

Police searching for a serial killer may not sound like the most original idea for a series, but in the hands of veteran writer Peter J. Tomasi, this story comes to life. The interior visuals are not as refined as the writing or covers, though, which is a bit of a disappointment.

An interesting story of a serial killer who sews angel wings on his victims gets a bit muddled because of some crude artwork. The police procedural has potential but it's difficult to enjoy with blocky and unrefined art.

The story may advance a bit in this issue, but it feels like a bit of slog. The writing has hit a lull and the artwork isn't strong enough to support a story that feels more ripped from a television police procedural than a large-than-life serial killer case.

A great script involving a cop caught up in a serial killer's scheme is hampered by some far-too-basic visuals. With better artwork, this series would be one of the best of the year. Still the script alone makes the limited series worth reading.

While the plot may continue to stretch the bounds of reality, it does so in a fairly compelling way. The illustrations, however, continue to be problematic. A wonderful cover almost delivers a bait and switch when you open the issue and find dramatically different artwork.

With a predictable script and subpar artwork, this miniseries fails to stick the landing. It's a shame, because it showed a lot of promise, right up until the end.

Part The Secret Life of Walter Mitty, part American Psycho, this one-shot puts a new spin on a Golden Age character. It's a great premise, though a single issue only scratched the surface of the character's frustration with the modern world as well as his own potential.

The pacing in this issue is off. Way off. The entire issue is a build-up to a discovery in the last panel that will leave readers flat. The story needs to be repackaged as a complete graphic novel instead of a monthly to maintain readers' interest.

When cereal mascots are in danger of being killed (by a cereal killer, get it???) a food scientist comes to their rescue. With a clever script and artwork well suited to the subject matter, this premiere issue never takes itself too seriously - which is a good thing.

You don't have to be interested in the superstitions from the Isle of Man to be wowed by the artwork and colors for this premiere issue. While the story is a bit slow in this installment, the visuals alone are worth the price of the book.

In the Corollary universe, everything has a twin. And when that twin dies, the other perishes as well. That high-concept idea is never really explained in this premiere issue. Unfortunately, an uninspired script doesn't give readers any reason to stick around to see if the idea ever pays off.

This first issue will feel somewhat familiar with girl losing dad and dad coming back to help her from beyond the grave. But this limited series has some interesting themes starting up here and has the potential to surprise us before it’s over.

This still-new limited series is already at risk of getting lost in its own storytelling. Side stories dominate this issue, but don’t add enough to the main tale.

Questionable writing and even worse illustrations doom this book about a knight who somehow gets transported to a different world. The book tries to raise some interesting questions about overzealous faith. On that - and nearly every other point - it fails.

This one is a very pleasant surprise. Some fantastic artwork beautifully paints the picture of a future where robots have taken over. The robots, of course, are just as flawed as humans – leading to plenty of twists and turns.

This issue may not necessarily answer your questions about AI, but it will certainly give you something to think about. Who exactly is serving who here? And why? As you are thinking about that, you can feast your eyes on some great visuals from a farm world dominated by aliens, sentient robots, and very large – and hungry – bugs.

This new series is off to a chillingly great start. It's a straightforward idea done very, very well. The issue strikes the right balance of horror without too much gore. And while it deals with dark subject matter, it doesn't take itself too seriously. Dark Ride is a great ride.

Dark Ride keeps getting darker. That's not a bad thing at all especially with this creative team. This issue serves as a second beginning for the series as sibling rivalries and rescues take center stage along with one or two shockingly dark moments.

In only a few issues, the Dark Ride creative has already built a complex horror mystery complete with intrigue and gore. With some killer literally final pages, readers are practically forced to come back for more the next month.

The series concludes its first story arc with a strong outing, featuring theme park intrigue, family drama and assorted demonic theme park characters. Some memorable artwork helps to make the story real.

There are lots of twists and turns as Dark Ride explores the history of the Devil's Land amusement park. Unfortunately, that means there aren't a lot of great visuals that we've come to expect from this series, but there's enough here to keep readers coming back for more.

This usually enjoyable series hits a stumbling block in this issue. An extended chase scene dominates the majority of this chapter, which feels more like bloat than passing along important information to the reader.

Dark Ride proves that theme parks may not be great places for families. But for readers, it makes for a good story with some even stronger artwork. While the outcome is largely predictable, the cliffhanger ending will leave most coming back for more.

This issue comes out of left field - and not in a particularly great way. The timing of the action for this chapter is very questionable. But some chilling - and at times even poignant - illustrations help to elevate the book.

One of the video game’s original killers comes to life — while bringing death — in this first issue of a new limited series. The artwork has a muddy throwback feel, and the story follows a familiar path, though the issue ends a bit abruptly.

It’s not that the story is bad. It just doesn’t feature the main attraction. This is supposed to be about the Hillbilly. We want more Hillbilly!

This limited series has been surprising in that it hasn’t focused much on the villain. That changes with this issue — finally — but the damage to the story may unfixable at this point.

Stop if you've heard this one before. The parallels between this book and the long-running The Walking Dead series are painfully obvious. At this point, the only thing that separates the two series is a few centuries. Corrective action needs to be taken for this limited series if it's going to be taken as something more than a complete rip-off.

While setting a horror story inside an abandoned shopping mall is an interesting if not completely original idea, the execution could use some work. The initial character development is pretty nonexistent, and the artwork is inconsistent. Some more work is needed to bring some life to this Dead Mall.

A solid follow-up to a strong first issue, Dead Mall #2 finds the group of teen trespassers regretting their decision to break into a not-so-abandoned mall. They story is strong, though the artwork is a little inconsistent and largely lacking on the monsters most readers are looking for in a series like this.

There's a lot going on in this issue. A bit too much between a haunted ball pit, a mall that seems to skip through time and a group of teenagers who don't mind killing little kids. Making things more complicated are some visuals that don't always align closely enough with the story.

After four issues, Dead Mall reaches its end. And it's not a moment too soon. It began with a promising premise, but quickly devolved into a worst of teen angst and unexplained horror tropes.

Strong, stylized artwork makes this issue, which centers on garbage men tasked with cleaning up an abandoned Earth. The story is thin, but the artwork and colors are unique and give hope that the story will come around soon.

If a comic book is going to rely on its visuals to support a weak script, the visuals need to be outstanding and easily move the story forward. While this book has some unique drawings, they are sometimes confusing and don't make up for a paper-thin storyline.

Yes, the illustrations are quirky, but not strong enough to carry this limited series. The artwork is dragged down by a confusing plot and bad dialogue among largely unforgettable characters. Thankfully, the series will be over soon.

A once-interesting four-part series reaches its end - long after it has worn out its welcome. Interesting plot points are never fully explored in lieu of shock value. We get it. We are turning the planet into a trash heap. Now give us a real story.

It’s so refreshing when a story that start our great only gets better. That’s the case with Everything Dead & Dying, one of the best new series of the year. You don’t need to like zombie stories to love what this creative team is producing.

One of the best series of the year reaches its next-to-last issue in style. With equally strong scripting and visuals, this story of a man trying to hold onto the past in the middle of a zombie apocalypse is equal parts touching and terrifying. It’s an absolute must-read.

Calling this limited series one of the best zombie stories ever created doesn’t do it justice. It’s really one of the best comic book series. The creative team took a tried concept, flipped in on its head, and stuck the landing in this final issue.

With a ton of action and just the right amount of background, this first issue introduces us to a pair of combat exorcists who are trying to stop a soul action from happening. It's a strong start for a series with a pair of unlikely heroes.

Some amazing and memorable artwork dominates the sophomore issue of this series. The story is interesting as well, with plenty of quips to break up the deadly serious nature of saving souls. But the dialogue can sometimes come off as a bit stilted.

Some outstanding - and equally revolting - visuals as well as an out-of-the-ordinary script, elevate this issue. Credit the creative team for shaking things up for the reader before audiences start to grow tired of the "monster of the month" formula.

Depicting the sin Greed as a dragon protecting its hoard of gold and riches was a smart one, as it leads to the best script of the series and some great visuals. Shockingly, even with some grand images, the creative team manages to sneak in some smaller moments to enrich the story further.

Artist Sebastian Piriz' illustrations have been a highlight of this series from the beginning. But it's the story itself that ultimately fails the reader in as this limited run reaches its conclusion - which robs readers of a true ending to the tale.

There’s plenty of action in this issue, just not much in the way of resolution. Still, the visuals are good as always and the foreboding colors set the tone as a small New England town plays host to murderous psychopaths.

Some of the secondary story lines and characters come into focus in this issue, as the series builds toward its climax. The tale remains entertaining – and occasionally gruesome – but still suffers from a glut of characters, which makes it difficult to remember who’s who from month to month.

The rules are changing in this series, both from a story and a storytelling perspective. It’s good to shake things up, but the fundamental issues — including way too many characters to keep track of — continue to weigh the series down a bit.

We’re finally to the point in this series where the number of characters is just about manageable. But whether readers will be willing to put a lot of effort into remembering who’s who each month is yet to be determined.

This strong issue is weighed down by the series’ previous baggage. We should be enjoying the beginning of the endgame a lot more, but it’s taken so long to get here that it feels like a pyrrhic victory of sorts. Taken by itself though, this chapter is one of the strongest of the series.

The path to get to then penultimate issue of the series’ first “season” has been long and winding – with too many characters to keep track of. But with the field of killers and townspeople winnowed down, things are much more interesting.

This uneven season is back with a vengeance, featuring two would-be killers whose identity will likely be a surprise to most readers. Some strong art caps off this so-called season finale.

Most of the gods of ancient myology have been cast down to Earth, but we're not quite sure why. While there is plenty of action and intrigue in this first issue, most readers will need some more explanation to know why they should care about these heavenly characters.

Combining two popular genres is no guarantee of success particularly when the story of a murder mystery is set in a small town where everyone has a motive. With some nice artwork, it's a decent enough start to see if the creative team is able to surprise the readers in future issues.

What is fiction, and it is it more important than the truth? Those are the heady questions posed by Fictionauts, an intriguing story where fiction is clearly more than meets the eye.

If you geeked out on the philosophical questions of reality posed by The Matrix, you'll love this series. But if you were confused and disappointed by how the Matrix panned out, you may want to rethink your reading choices with this book.

It's not really a surprise when Jeff Lemire creates another great story - but it is refreshing. This time, he writes and draws the story of a young girl who shows kindness to a wanted man. It's vintage Lemire - and that is a very good thing for readers.

A post-apocalyptic world in danger turns to Frankenstein for help. Frank isn't looking for help, but finds it anyway in the form of a young traveling buddy. This first issue has more exposition than action, though there is some great imagery.

This coming-of-age story follows teenager Sienna and a group of her young coworkers as they deal with work and personal issues that will follow them for the rest of their lives. The main characters are well written and drawn, though secondary ones suffer as nothing more than stereotypes.

Whether or not you like cats, just about any horror fan will find something to like in this creepy story of a girl and cat adopted on the same day. Featuring strong writing and often-disturbing visuals, Hairball has something for everyone.

You don't have to be a cat person to enjoy this story of a feline from hell wreaking havoc on a young girl and her family. The creepy story will keep you invested and some innovative use of color will have you closely studying many of the panels.

It's rare when a limited series has time to pull to a story pivot, but this creative team pulls it off in this issue. Readers who thought they understood the story will now begin to doubt themselves. Regardless of the true answer if there even is one the issue leaves you wanting more.

An extended flashback at the beginning of this concluding issue adds some interesting background - but it comes too late in the overall story. The stylized illustrations are something of an acquired taste, but they largely work here.

Is this book worth your time? That's a really good question. With strong writing and illustrations, it certainly has the potential to be great. But so is little revealed in the first chapter of this five-part limited series, that it could go either way.

Strong visuals and vibrant colors help this book to overcome a familiar plot and not-so-shocking plot twists. The story is fine, but something you'll feel like you've read many times over.

An expert on words and their origins seeks the power of the absolute truth " a power that can cure cancer or destroy a city. The truth may be out there, but you can't handle it.

What happens to the objects we leave behind after we've died, and what impact do they have on those who knew us? Ice Cream Man attempts to answer those questions in the latest installment of this though-provoking series.

If you're a control freak, you may want to avoid this issue. As the story of a clinical drug trial deepens, you soon realize find yourself questioning reality itself until you finally figure out that we're all rats in a maze.

For a series known for its often-horrific twists and turn, this issue of Ice Cream Man serves up a surprise: A touching father-daughter story. It's not what readers are expecting. But that's one of the reasons it works so well.

From the brilliantly conceived cover to page after page of characters struggling with 12 steps to battle their dependency issues, this installment illustrates the real-life horrors of recovering addicts. It is a sobering read on multiple levels, but well worth the investment of time.

Why do horror writers create dark, terror-filled worlds instead of telling happy stories? That question is haunting the narrator in this great story. There may not be a lot of action, but it's a fascinating exploration of a writer trapped him his own creation and his own success.

While readers may have difficulty connecting with the characters in this story, they will likely understand some of what they have been through thanks to some evocative imagery from artist Martin Morazzo.

This horror anthology series returns with a callback to some past issues, while telling the story of a writer. Is it the writer of this comic? It may very well be. In any case, it's a good ride.

While this fish story operates on two levels, the one most will be drawn toward focuses on a father grieving for his daughter and what could have been. It's a tale that - for better or worse - most of us can relate to.

You don’t need a high concept to have a successful issue when you have witty dialogue and outstanding visuals. Despite the simple plot, this issue wows with amazing illustrations of our dreary robotic future.

This hybrid comic book/musical tackles the issue of climate change in a pretty heavy-handed way. The drawings can be pretty basic and the songs aren't going to win awards, but the topic is an important one.

A new story arc opens with this issue, meaning most of the chapter is setting up things to come. Unfortunately, it’s all setup and no action. Battle Beast himself barely appears, leaving readers to focus on some of the less interesting characters.

The action wraps up way too quickly, leaving the rest of the issue to deal with transitioning. While we’re excited for the upcoming battle that keeps getting teased, this issue suffers for it.

Great illustrations and pacing make the beginning of this fight between Battle Beast and Conquest a must-read. Don’t worry, though. With a matchup this epic, there will be plenty more for the creative team to wow readers with.

A group of high schoolers planning a party may not seem like an exciting premise for a comic book, but some real slice-of-life dialogue and the mystery of something larger happening makes for an interesting first issue.

It's a decent start to this story of rival scientists looking for extraterrestrial life but finding something else. The story is all exposition and not enough action, but that doesn't stop the creative team from producing some great artwork.

Incredible illustrations dominate this premiere issue. An intriguing story slowly unwinds, but you'll find yourself gawking at the page, then going back to study each panel. This book should be considered a must-have, if only for the visuals.

Some strong - if pretty gory - visuals bring this first issue to life. Then again, the artwork is one of the only things still alive in this city that is a haven to serial killers. It's an interesting premise with a lot of legs.

This story of human sacrifice at a music festival is interesting, but this first issue spends way too much time on flimsy characters that readers will quickly forget. The series needs more rock and roll.

The concert is just beginning, but will anyone be alive to listen? What's more will anyone care? This promising series places too much emphasis on a group trite concert-goers instead of telling the story that readers are truly interested in.

While the story is missing any semblance of conflict and the artwork is inconsistent, this book represents a good cause - giving a voice to a people who were disaffected by the US. Help to fund it so the stories told by future Marshallese artists will be better.

The pair responsible for the Descender and Ascender series are back, once again telling the story that focus on young people. Great writing and artwork give a fresh take on a familiar evil " vampires.

Jeff Lemire and Dustin Nguyen return with their second installment of the tween/teen vampire story Little Monsters. While the story has plenty of action, its main function seems to be setting the stage for what is to come in future issues.

When a vampires trapped in children's bodies get their first taste of human blood, all bets are off. Storytellers Jeff Lemire and Dustin Nguyen shine once again as they continue this post-apocalyptic tale of the young undead.

The key to keeping an ongoing series interesting is change. This issue sets up a change that is coming for our young vampires and it's one that should make a great comic series even better.

If choices are tough, the dealing with the repercussions of those decisions is even more difficult. The undead children chose to drink human blood for the first time, and that decision starts to haunt them in this new installment from the all-star team of Jeff Lemire and Dustin Nguyen.

The first arc of Little Monsters ends in this issue with a cliffhanger that is sure to reset the tone for the entire story. With a artwork that jumps from intimate closeups to wide views of entire city blocks, there's plenty to sink your teeth into.

The devastating war in Ukraine has affected everyone involved, but children particularly. The international comics community has come together for this heartbreaking and inspirational series of stories and artwork to benefit those children. It's an investment that's worth making.

The creative team behind Spread returns for a new horror series that features demons invading our reality. This first issue is straightforward, introducing readers to the concept as well as containment team battling the invaders. But there’s a twist when a human/demon hybrid shows up with an appetite.

Sometimes, all it takes is a single panel to make a break an issue. Unfortunately in this case, a poorly rendered passage shatters the storytelling illusion for readers. It’s a difficult obstacle to overcome, and the issue never really recovers from it.

A great creative team delivers a blockbuster first issue and sets up the rest of a limited series that could be one of the year's best. The writing is strong and take the story in unexpected ways, while artwork depicts an exciting new world.

Focusing on low-threat villains in trouble may not sound like a great story. But when they are handled with as much respect and TLC that this creative team shows its subjects, the tale becomes something bigger more compelling.

The Minor Threats creative team has developed such an interesting world with compelling characters that it would be a crime if it ends after the next issue. The real threat here is that the overall story stops after this limited run concludes next month.

All good things must come to an end. So this great limited series wraps up its story with a bang. While it's a familiar story of betrayal, the creative team has developed a rich world and some cool characters that deserve another chance.

When an illustrator and colorist click, magic happens. That is precisely what happens in this issue aided in no small part by some great writing. The story is a feast for the eyes and well as the ears.

An illustrator and a colorist working in near-perfect harmony elevates this book (and, so far, this series) to new heights. It's an interesting read, but even better eye candy.

Great illustrations and dynamic colors make up for a somewhat flimsy script with seemingly meaningless tangents. With a tighter story, this series would be a highlight of the entire year.

Some sweeping illustrations rescue this transitional issue, which is light on text and plot. The whole issue could easily have taken place using half the real estate, but at least readers have some great visuals to tide them over until someone finds a stronger story.

This series' illustrator and colorist are working in near-perfect harmony, beautifully complimenting each other. If only the story itself were stronger, this series would be a must-have for your pull list.

The ultimate survivor contest continues in this issue, with its overly recognizable characters and situations. You need to be a die-hard reality TV fan to find something new in this all-too-familiar story.

The point of a cautionary tale it to convince people the folly of their ways and to change. Yet New Think #1 instead opts to concede that it's too late to abandon our addition to mobile phones and similar personal technologies. It's a story without conflict, which really doesn't make it much of a story.

This series about the perils of technology returns with a tale lacking much in the way of technology. Instead, its preachy tone is likely to turn off readers who are looking for something more.

A blockbuster first issue kicks off this limited series. The writers have taken the serial killer trope and turned it on its head with fantastic results. While it's still early, with only one issue in, this is a contender for series of the year.

In only its second issue, No/One has established itself as a must-read book. The characters are complicated. The writing is crisp. The mystery is deep. The artwork is strong. What more could you ask for in a comic book?

A rare meh issue for this series that got off to an amazingly strong start. There's way too many talking heads, which doesn't give the artist much to work with and even less for readers to care about.

Family stuggles and issues of a pre-emptive defense against doxxing dominate this chapter, making it a thinking person's comic book. That's not necessarily a bad thing, though it does cut down on the action, at least for now.

No/One #5 is one of the best entries in this limited series, save for a single panel that is so jarring that it disrupts the entire reading experience. One-third of a single page shouldn't carry that much weight, but when the rest of the book is so good, all it takes is a single flaw to disrupt everything.

Reading this series is like watching a movie unfold before your eyes. The visuals are that clear and stunning – and the story of a ritualistic murder set during the Cold War is that layered. This title is definitely in the running for one of the best series of the year.

All great stories must come to an end. And this has been a very strong one – until now. After three issues of peeling this onion-like mystery, we finally learn who the killer is – except that it’s someone we’ve never met. So the story wraps up with too much exposition – too late.

This new horror miniseries kicks off in style with a group of alt-Gen Z racists trying to get back to their White roots in Norway. It’s an interesting post-Covid tale mixed with straightforward but effective artwork.

This limited series takes an odd turn in only its second issue, further blurring the lines between what is real and what is imagined. Hopefully things will start making sense soon, but the safe bet is that it will get weirder before things get clearer.

Finding the right mix of anticipation and exposition can be difficult, particularly for horror stories. The first issue of this limited series got it right. But now it feels a bit long in the tooth.

While the apocalypse may not seem like an appropriate place for a love story, the first issue lays the groundwork for a romance for the ages. Some memorable artwork cements the beginning of what should be a strong tale of love and survival.

Strong characters and entertaining antics between them make for a good second installment of the post-apocalyptic tale. While there's not much action, their interactions as well as the promise of a shift in the story foreshadow even more engaging tale in the future.

Jason Aaron's superb writing, combined with some splashy artwork, bring this issue to life. It's easily the best chapter of a series that is quickly becoming a must-read on fans' pull lists.

Flashbacks dominate this issue to give some much-needed background and motivation to one of the main characters. While the artwork has been stronger in past issues, there is still plenty to feast your eyes upon.

This unlikely post-apocalyptic love story wraps up its first arc in a fun way, though the ending feels a bit artificial. The artwork is not overly detailed but does a good job of showcasing each character's feelings.

This post-apocalyptic story kicks off its second story arc with more sex than can be fit into a porno. What happened to the story of two young people trying to find an oasis in the wasteland? It's there somewhere, underneath quarts of bodily fluids.

This installment is an odd one with virtually no conflict to move the story along. Instead, it represents a high point for the character, only likely to bring everything crashing down again soon. But there's some nice artwork and fans of the poet William Blake will get a kick out of the use of his poem, Jerusalem.

Poor storytelling choices and inconsistent artwork have sent this series spiraling once again. The script reads like a post-apocalyptic orgy waiting to happen. Most of the illustrations are very basic, a few pages shine - which makes you all the more upset that the creative team couldn't get its act together.

If the pandemic left you feeling like you have lost a connection - whether with loved ones or even the greater world - you'll related to this issue all too well. As their world is falling apart around them, the main characters subconsciously turn on each other. It's a great example of a creative team working together with words and illustrations to drive their point home.

This premiere issue delivers two zombie tales that differ significantly in terms of tone and visual style. Unfortunately, the more interesting story is given less space to show off, but both are entertaining.

The series set in two worlds featuring a man with zero names is back for a four-part run, this time changing one setting from the past to the future. Mysteries abound and shift like a dreamscape.

We expect a lot out of our comics superstars. And when they don't deliver an amazing experience, it can feel like that particular story is a failure. Phantom Road is a fine story, but nowhere near the level that most readers come to expect from the likes of this creative team.

After a couple of blah issues, this series seems to have found its voice and stronger visuals thanks to a significant story pivot. While it reads more like a police procedural than in chapters past, it's an interesting tale with lots of surprises for the reader.

After a false start, this series is now on the right track, thanks to a more interesting and interconnected set of storylines. An innovative use of color and strong artwork also helps to convey the story - sometimes without having to read the script.

After a slow start, this superstar creative team delivers a compelling end to the series' first story arc. Some expressive visuals as well as innovative uses of colors are highlights for the issue.

Inconsistent and confusing visuals mar an otherwise interesting story of a woman advocating for other women in the strong way possible. The writing is strong and irreverent, which makes you wonder how much more successful this graphic novel would have been with better artwork.

Who is responsible for the success of a franchise movie like The Batman or next week's Thor: Love and Thunder? Is it the comic book creators from years past or the studios bankrolling them? Chip Zdarsky fights for creator rights in this interesting limited series, first published in his newsletter.

After only one issue, the theme of Public Domain has begun to shift, if only slightly. What remains seems to be a deeply personal story from industry icon Chip Zdarsky that explores balancing creative success with the needs of a family.

This series has quickly morphed from a look into the publishing industry and our superhero-obsessed culture into a family drama. While storytelling shifts are necessary to keep tales interesting, this change seems to be pointing the series in the wrong direction.

Kevin Smith fans will love this book. Comic book fans will love this book. Batman fans will love this book. So what are you waiting for???

If dense plotlines and serious material are your thing, this is definitely not the book for you. But if you're able to find the humor in just about any situation the raunchier, the better then this series set in Kevin Smith's move universe, may be just what you're looking for.

Fans of Clerks and Kevin Smith's other cinematic creations will love this story of Dante's and Randal's visit to a family reunion. Filled with irreverent humor courtesy of Smith, the only downside to the issue is some questionable artistic choices.

Blending multiple genres with an emphasis on mystery, Requiem starts out strong with lots of potential for future installments. The plot doesn't allow for a lot of dynamic space scenes, though the creative team does well with the few they have.

Writer and artist Sina Grace crafts a crazy story about two BFFs on a quest throw a great party. But when you strip away the outlandish clothing, shapeshifting cat and the occasional jockstrap, Rockstar and Softboy is a really story about friendship. You don't need to relate to the eccentric characters to seek what this pair is really after.

An uneven story that oddly highlights a building-scaling character's argument mar this premiere issue. Some memorable artwork and colors salvage the book, which feels more like the first 30 or so pages of a graphic novel instead of an episodic series.

When superhero Rogue Sun is killed in battle on the streets of New Orleans, son Dylan must inherit the mantle. But is the rogue son ready to pick up where his estranged father left off?

New superhero Rogue Sun needs help in learning how to use his powers. The only problem is that his teacher is his dead father, whom the hero along with just about everyone else in the story despises. And you think you have family problems!

While we still haven't seen the extent of superhero Rogue Sun's powers, this issue introduces us to two more amazing villains, including a walking roadkill. Add in some family drama and you have the makings of a solid story that adds intrigue with each issue.

If family drama is your cup of tea, then Rogue Sun #4 serves it up like no one can. Sure there is superhero action and a mystery thrown in for good measure, but the familial angst is the center of this story, which turns the typical hero's journey on its ear.

Your family issues are nothing compared to Rogue Sun's. That makes for a good story. Add in strong visuals for a fight that dominates the entire issue, and you have a good entry into this young series.

With our hero caught between battling parents, it's time for tough decision-making. The consequences of that decision reverberate throughout this solid issue as well as likely across the rest of the series' storyline.

This issue puts you in the driver's seat by letting you choose Rogue Sun's path forward. It's alternatingly thrilling and enraging, but those who embrace it will get a big kick out of the format and the lesson the issue is trying to teach. The choice is in your hands.

A new story arc kicks off and a new villain is introduced. The creative team finds the right balance of the new and the familiar and sets up an interesting story going forward. Should we root for the morally questionable "hero or the "villain trying to avenge his down-on-his-luck father?

The creative team takes a breather with this issue to set up what's coming next. It doesn't make for a great single issue, but it lays the groundwork for a better story arc over the next several installments.

A backstory dominates this issue both in terms of action and artwork. Most of the book focuses on exposition and character development, but at the expense of some good old-fashioned fighting.

A largely unnecessary issue featuring a battle that is so anticlimactic, you won't even realize then it's over. Also beware: the creative team thought it would be a cool idea to present part of the story in landscape mode, meaning you have to constantly flip the issue on its side to avoid neck issues.

It's a big fight issue! While you can pretty much see the ending coming from miles away, it's still an enjoyable ride ad does a good job of setting up the next story arc. Despite a few confusing panels, the artwork is largely straightforward.

For the first issue of a new story arc, this chapter isn't all that exciting. The plot is pretty obvious, and the lone battle scene is tame.Hopefully it's not an indication of what's to come with the rest of the arc.

Family issues again highlight this chapter as father and son temporarily overcome their differences to form an uneasy alliance. The story is fine, but readers will soon crave more than just familial conflict. While the artwork conveys the story well, the creative team made a curious choice in dividing illustration responsibilities in a way that doesn't add much to the story.

The addition of a new personality spices things up not just for the other characters but for readers as well. In fact, it has the potential to breathe new life into the series. And after lots of relatively joyless issues, it's a welcome change.

From the first page, superstar Jae Lee's artwork grabs your attention and never lets go. Add in a strong, yet controversial, script that tells the story of seven children born of virgin mothers on the same day and you have the makings of a compelling tale.

The mystery and intrigue around the public naming of the second coming of Christ continues to build in Seven Sons #2. So too does the tension among the candidates, some of whom just want to live a normal life. Some questions are answered while new ones emerge.

With some topical writing, beautiful artwork and an appropriate shift in storytelling, this tale of religion meets capitalism seems to be firing on all cylinders. It gives new meaning to the term "true believers.

Middle issues of series are difficult to writer as they have to keep readers' attention while often changing the story's focus. That plays out in this installment. Fortunately, always reliable Jae Lee continues to stun with his artwork.

For several issues, ugly Muslin stereotypes have been popping up in this series. With this issue they hit front and center. and it's not pretty. Only Jae Lee's artwork can provide some respite from the ugly text on the page. It's a wonder that something like this can be made today.

While the story has a great deal of relevance for today, a repeated reliance on Muslim fundamentalists as the antagonists is beyond troublesome. Fortunately, Jae Lee's artwork sets this series apart,

It's hazardous to deal with religious themes and this series is a good example of why. The writing has been alternately strong and perplexing, but the artwork has been consistently amazing and has helped to elevate the series.

Just in time to close out Pride Month, this premiere issue features a queer protagonist (and antagonist) unlike any you've encountered before. That breathes fresh air into a Robin Hood-like story of a thief who steal from the rich because the poor have nothing worth taking.

Can Hell exist without Heaven? And is it a moot point when you're carrying a naked angel around? While they may not be the most pressing questions of our times, they are an interesting context for this second chapter in the limited series that has gotten off to a strong start.

Travis Moore's artwork continues to shine. While much of the subject matter the naked male form may not be everyone's cup of tea, his talent cannot be denied. Paired with an interesting story and unconventional characters, this series is becoming an unlikely must-read.

While this series has been strong, this penultimate issue feels thin. The story centers around a rescue and some needed exposition. But once those are addressed, there isn't much sense of urgency to set up the final installment.

This strong and unique limited series reaches an only partially satisfying conclusion because if focuses too much on secondary characters that have not been fully developed. As a result, the Black Flamingo feels more like a pawn in his own story.

Until now, this series’ artwork has far surpassed its script. But with the story becoming more interesting and even more relatable, the script is catching up. That means readers are in for a treat – from both the text and the visuals.

This issue demonstrates how the dynamic combination of a writer and an artist at the top of their respective games can pay off for readers. It’s a compelling and visually stunning story that will leave its audience wanting more. What more could you ask for in a comic book?

Sure the story is good, but what makes this issue — and the entire limited — worth reading is the amazing artwork by David Finch. He has literally built an entire world and an alien species — and you won’t be able to take your eyes off of them.

In a series that has been dominated by amazing artwork, it’s nice to see that the story is finally landing with equal power. Writer Robert Kirkman pulls back on a lot of dialogue in this chapter, allowing what little he has written to land with greater impact.

This limited series ends with an overlong wrap-up, that blunts the impact a bit. Instead of great scenes with primitive alien warriors battling grotesque monsters, we are subjected to a lot of story cleanup. Still, the overall series has been a visual showcase.

Avast ye maties! Ye will be wantin' to avoid this scurvy dog of a story unless yer plannin' on visitin' Davy Jones's Locker! Seriously, you'll be wantin' to walk the plank before trying to follow this weak computer-game tie in.

When is a vampire not a threat but a friend? When he thirsts for water, not blood. That's just one of the many lessons in challenging the assumptions found in this graphic novel for middle school students.

The great horror series is back and just as good as ever. This instant-classic series returns with a new location, a new hero/victim but the same ol' monsters that can only be seen by kids. It's definitely worthy of your time.

While much of this issue is devoted to character development, it opens up with some of the goriest pages ever to grace an issue of Something is Killing the Children. Hopefully it's a teaser for some dynamic action to come in future installments.

Even the best stories need time to pause and take a breath. That's what is happening in this issue of this fantastic series. Don't expect much in the way of action or gore. Instead, trust that the story will play out at the right pace and that the creative team is setting up something even more amazing.

Every series needs to hit the pause button once in a while, and even a great one like Something is Killing the Children is no exception. With multiple plotlines happening simultaneously, it was inevitable that this series needed a breather to tie things together.

After a few issues of needed exposition, this series returns to its great form with a compelling story and blockbuster visuals. With threats on every side, hero Erica Slaughter is at her lowest point which represents a high point for the reader.

Something is Killing the Children is probably the best new comic book series of the decade. Yet the beginning of this new story arc is long on character development and short on action. Still any chance to see Eric Slaughter in action is a treat.

Something Is Killing the Children has been one of the best horror comics one of the best comics period in at least the last decade. Lately though, the stories have been taking too long to develop with not enough payoff. While this issue shows signs of life at the end, some more work is needed to regain readers' excitement.

After several issues full of questionable exposition that took away from some much-needed action, this stellar series gets back on track with a strong issue. While short on non-human monsters, this installment finally brings the heroine and villain face to face in an exciting prelude to battle.

This once-great series continues to deprive fans of what they want to see most some monster fighting badness. Instead, readers are teased with office politics instead of hand-to-tentacle combat. More and more, these issues feel like fillers.

With no conclusion to this story arc in sight after 10 slow issues, readers' patience must be wearing thin. This once-great series needs to pick up the pace to remind its audience why they have to book up this book each month.

A tired, bloated script is putting this entire series in dire straits. Instead of reinvigorating the story with a new arc, readers are burdened with more of the same. That has an impact on the once-great art as well, which is a real shame.

Until now, even when an individual issue's story has disappointed, readers could rely on great illustrations. In this issue, they get neither. What could have been a pivotal moment in the story arc is now a throwaway issue - literally.

If you are a fan of post-apocalyptic racing stories like Mad Max or Death Race 2000, you may think Speed Republic is for you. You would be very, very wrong.

Mixing genres can lead to great results. Recent history has shown a lot of success with horror stories set in the Old West. This tale tries to do that, but achieves only limited success with a bloodthirsty mummy terrorizing an Old West carnival.

This great start to the series takes the notion of "spies like us to a whole new hilarious level. When a super spy is killed, a Western espionage agency turns to a loser to save the free world. It's not 007, but it is a ton of fun.

Spy Superb follows a useful idiot a spy who doesn't even realize he's a spy. But this idiot figures it out and actually thinks he's good at it. Only a mind like Matt Kindt could come up with a fresh and entertaining take on a familiar story.

This smartly written part spy, part humor limited series comes to a conclusion in this issue. Writer/Artist Matt Kindt crafts a unique tale about a spy who doesn't even know he's a secret agent. 007 he ain't, but that's part of the excitement.

Benjamin Sisko makes his long-awaited return to the Star Trek universe in this issue. But the captain doesn't have much time to celebrate much to readers' chagrin. There's a menace out in space, and Sisko needs to assemble an all-star crew to deal with it. Unfortunately, some inconsistent artwork gets in the way of a strong start to this ongoing series.

IDW celebrates its 400th Star Trek comic with this oversized one-shot packed with stories that span many of the franchise's series. As has been the case lately with many of the Trek titles, the writing is stronger than most of the artwork, though some of the many cover choices are fantastic.

If newer Star Trek series like Discovery and Picard have you reminiscing for more classic tales, this book likely has what you're looking for. Set before Deep Space Nine's final season, this one-shot tells a fun story that will take fans back to the future.

The Klingons have always been a favorite of Star Trek fans. This oversized one-shot explores the history of one of the most famous Klingons, Kahless the Unforgettable. Great visuals at tons of action propel the story of young warrior seeking to unite his people " through battle and honor.

Exploring the rich stories around Star Trek's alien race can be a lot of fun, and this tale weaves in a mystery around the joined Trill. But some inconsistent artwork makes for some jarring storytelling.

Some solid writing isn't enough to save head-scratchingly inconsistent artwork. What should be a romp with a dog on a space station instead is an exercise in understanding what you're looking at. Oddly enough, some panels are magnificent while others are just sloppy.

A great script involving a dog and some intriguing Borg technology the Federation needs in its war with the Dominion is sometimes overshadowed by some inconsistent artwork. Some of the panels are great, while others seem rushed.

This sometimes inconsistently drawn series turns in the best issue of its run today. The visuals this time out are strong, and both illustrations and the script hearken back to the television series. It's a welcome addition to the larger DS9 story.

Lt. Uhura travels back to the 1960s to teach us about the civil rights movement. The story is a poignant one, but it lacks real drama and feels like a bit of a retread. Still, the visuals are period-appropriate and showcase a familiar cast of characters.

You don't need to be a cat person to love Grudge, the unlikeliest of Star Trek: Discovery's crew. With an imperiousness we come to expect from our feline friends, Grudge explains in hilarious detail how she puts up with Discovery's crew " and wins our hearts in the process.

Star Trek has always created some of the best character in science fiction. While today's streamlined streaming seasons can cut character development short, this series makes up for it by giving the backstory on some fascinating characters.

Star Trek: Discovery has so many characters and plot lines that it sometimes gives minor characters the short shrift. This series seeks to right that wrong - and it consistently tells compelling stories of those spacedwellers who don't get their due.

Star Trek has always demonstrated the power of diversity. This anthology series, which wraps up with this issue, proves the our real strength comes from the people we interact with every day. It's a strong close to a comic series that is arguably better than the streaming source material.

Star Trek's holodeck has been a venue for pain and pleasure over the years. Unfortunately, it's the former here thanks to some inconsistent writing and non-detailed artwork. It's too bad, because it's a fun idea but one that is not well executed.

Perfectly capturing the look and the tone of the streaming series, this premiere gives readers nearly everything they could want. There are loving references to past Trek shows, lots of irreverent humor and just a touch a drama.

This creative team has perfectly captured the look and the feel of the newest animated Star Trek series. Fans of the show will feel right at home and they will be treated to a little extra. And those who don't know the show can get a great taste of it here.

While not as strong as the previous two issues, this concluding chapter closes out the limited series in a fun way. With artwork that could be taken directly from the streaming series, the issue puts you right on the lower decks of the USS Cerritos.

The series is off to a good start with a creative team that seems to understand Star Trek. Some inspired artwork from Angel Hernandez captures the essence of Jean-Luc Picard at different points in his life. It's a remarkable feat and a highlight of the issue.

After a strong first issue, the story and the artwork take a hit with this installment. A predictable tale that doesn't seem grand enough and inconsistent visuals bog down an issue that should be a celebration of all things Picard. Jean-Luc deserves better!

This uneven limited series wraps up in a way befitting the spirit of Star Trek. While the first two installments lacked a strong storytelling direction and consistent artwork, this conclusion helps to atone for many of those sins while serving as a welcome bridge of sorts between the streaming series second and third seasons.

While he's familiar, this isn't the Jean-Luc Picard we've come to love. At least not yet. This 20-year-old version is still learning how to interact with others while charting his own course for the future. Think of it as a young adult version of Star Trek.

It’s hard to get excited about a comic book when you only bought it to see the ways in which the main characters are killed off. The plot ultimately doesn’t really matter, just the manner of the deaths. And with so many characters, it’s difficult to hope that any of them survive the ordeal.

As the red shirt body count hits double digits, the creative team delivers a great plot twist. But it’s too little too late for the finale of this limited series that asks us to root for new characters that we know aren’t going to survive for long.

This sequel series improves on its predecessor by not spending much time trying to make us care about characters who will only be killed off after a few pages. Instead it takes the most interesting aspects of that last run and builds on them.

This issue offers a decent start to an all-new Star Trek story with mostly new characters. The story is routine, and the characters are not all that interesting - at least yet. But for a video-game tie in, the limited series has potential.

When does drama falter? When you don't know the characters well enough to care whether they live or die. That's the problem with this issue. We're meant to care about some Starfleet officers that we haven't had the opportunity to connect with.

This uneven limited series sputters with a captain making very questionable decisions that endanger the lives of his crew, The artwork is good, but not enough to save this issue from the poor writing.

The crew of the USS Resolute struggle to stop a warp core breach from destroying their ship. The way this series is going, the ship's destruction might be the best possible outcome.

Is it possible to stick the landing even though the rest of the story has been poor? For some reason, this creative team waits until the last issue to turn in the best installment in the limited series. It's not great, but it's better than what's come before.

Picking up just after the cliffhanger in the show's season finale, this limited series tries to shine some like on the mysterious Illyrians. With a script that sounds like it belongs on Paramount+ and artwork that makes it easy to recognize each character, this initial issue feels like slipping into a comfy pair of slippers.

While comic book tie-ins are often just money grabs, this limited series is a great addition to the story. With strong writing and simple, but effective, visuals, this series leaves readers wanting more.

This strong series take a seemingly unnecessary left turn courtesy of some bizarre time travel. In the process, it shifts the story away from the direction it was traveling and focuses the tale on an odd plot involving ancient Vulcans.

As good and as authentic as this limited series has been, it fails to stick the landing for fear of interfering with the larger story being told by the streaming series. While the writers have captured the series' tone and characters' voices, by the time this final issue is over, you find yourself asking the point of the story.

It's a race Star Trek style. What else do you need to know? The setup isn't all that important anyway, and the visuals of the ships are gorgeous. So start your warp engines!

Writing is a balancing act. You need to give readers some of what they want to keep them coming back while telling the story that you want to tell. That struggle is apparent in this issue, as the writers introduce new characters while giving us just enough of a resurrected James T. Kirk to tease us.

Bringing Jim Kirk out of mothballs may seem like a stunt, but he’s truly the hero the galaxy needs after the Burn has decimated the Federation. What’s best about this issue is that we see Kirk’s deep insights into the Klingons – something that was barely hinted at during Star Trek’s original television run and movies.

This young series takes an oddly-timed but poignant breather in this issue to focus on its largely unknown first officer. You won’t find space battles or much in the way of political intrigue. Instead, it delves into humanity, which is something that Star Trek has always excelled in.

With the fate of the galaxy at stake, you’d think this would be a better issue. But aside from some innovative illustrations, the story is pretty blah. Hopefully it’s nothing more than a downpayment for more exciting future. Otherwise, things will be moving in a circle at warp speeds.

We finally get to see more of James T. Kirk in this series! It’s a much-needed addition, given how dire things are for the post-Burn Federation. This concluding chapter of the story arc should be setting up more personal drama for the Starfleet legend.

These are dark times for the Federation. Literally. This series gets a creative boost with a new artist at the helm. The dark story may feel a little off brand for Star Trek, but the artwork elevates everything.

You’ve been waiting eight issues to see James T. Kirk take on the Borg. Well here’s your chance. Spoiler alert: Resistance is not always futile!

Star Trek's mirror universe is chock full of fascinating characters and intriguing situations, giving readers more than enough to entertain them. The amazing thing is that you may soon find yourself rooting for this evil version of the Federation.

Star Trek: The Mirror War takes an odd turn as it prepares for its conclusion. Instead of racing for that finish with new ideas, the story and even the artwork that used to excite us in past issues, is starting to feel old. Let's hope this is nothing more than a cosmic anomaly.

Some inconsistent artwork mars an action-packed issue that has mirror universe Picard close to his final victory over the oppressive Klingon-Cardassian alliance. Jean-Luc and crew deserve strong, more consistent depictions.

After a year's worth of stories, this epic story set in Star Trek's mirror universe comes to a close. Well, almost. Instead of tying a neat bow on things, readers are left with a cliffhanger of sorts, in a blatant attempt to get more money from them in the future.

Star Trek's mirror universe has delivered some of the most intriguing stories across the franchise'smultiple series. Tying into the current Mirror War limited series, this one-shot gives some insight into engineer Geordi LaForge's evil counterpart. While it's not essential to read to understand the broader story, it does give some insight into the background and motivations for this version of Geordi.

Captain Benjamin Sisko remains one of the most intriguing Star Trek characters in the franchise's 50-plus year history. While fans will debate the show's finale and Sisko's fate, there's little debate that this book is unworthy of his legacy. It's not bad, just uninteresting. Ben deserves better.

Recent Star Trek titles have suffered from uneven artwork and this one-shot is no exception. Given the emphasis IDW has placed on the Mirror War over the last year, it's surprising the publisher hasn't demanded higher quality artwork from its creative teams.

This new Trek limited series launches with an intriguing story and some snappy maybe too much so dialogue. There are some nice visuals of the familiar original series crew, though the artwork can be a bit inconsistent at times.

While it's nice that this limited series shines the spotlight on secondary characters, the artwork needs some TLC. Most of the time the characters look like rough - very rough - approximations of the real things.

While this miniseries' overall plot is interesting, Star Trek purists will chafe at some overly familiar plot points as well as illustrations that bear little resemblance to the actors who played the characters.

Despite a gorgeous cover, this issue featured some uneven artwork inside - some of it bordering on amateurish. While the writing has been generally strong, several characters' dialogue devolves into an inappropriate level of silliness.

The USS Voyager is facing a double threat in this issue, so it’s not exactly the homecoming they were expecting. Fans of the show will be drawn to this limited series, which does a good job of depicting the familiar characters both visually and tonally.

Star Trek doesn’t always get space battles right, but this massive fight of an issue is a real page-turner. Beautifully rendered and well told, the battle is exciting and deadly while still staying true to what makes it Trek.

The Voyager crew finally gets the ending fans have been waiting 25 years for! The main story wraps up quickly so we can learn what happens to Captain Janeway and her crew after the arrive back on Earth. It’s about time!

What happens when an all-star team creates a comic book story that is text-free? It turns out to be one of the most personal takes for a generation.

Following a fantastic premiere issue, Step By Bloody Step #2 continues the story of a young girl and her giant armored protector as they trek across an alien planet. What makes this story so personal is its lack of text, forcing the reader to focus on the amazing visuals.

Better have your tissues ready for this one. Creators Si Spurrier and Matias Bergara prove that you don't need text on a page to pack an emotional wallop. Bergara's visuals continue to shine and bring this remarkable story to life.

Artist Matias Bergara again shines in the conclusion of this textless tale of a young girl and her giant protector. His artwork forces readers to concentrate on each panel and we are richer for doing so.

With the series about to enter its final arc, Stillwater: The Escape paints a grim picture of how the story will pan out for the inhabitants of the town where no one can die. While this one-shot lacks variety in the short tales it tells, it tries to shed some light on the reality of immortality.

Don't let the title fool you this isn't the Stranger Things with Hopper, Eleven and Dustin. But that's not necessarily a bad thing, because it's a strong story borrowing many of the elements and themes found in the streaming show.

Aside from the title and some great images of a demigorgon, this series doesn't have much to do with the streaming series Stranger Things. Still, it's an interesting Cold War-era tale that will leave you nostalgic for the days of New Coke and Cabbage Patch Kids.

Despite some great images of the fearsome demogorgon, there isn't much to connect this book to the streaming series. Still, it's a good story about the ties that bind us, whether as a literal family or as a virtual one.

As you're processing the events of the latest season of Stranger Things, Dark Horse wants to bring you back to season three and the Battle of Starcourt Mall. It's an interesting take on the story, but without any main characters, it feels more like a money grab than real entertainment.

This new series may not break any new ground, but it's an ample filler as we wait another year and a half for the final season of the Netflix show. This first issue may feature a familiar story, yet it's one that fans will enjoy as they learn some more about the spooky happenings in the small town.

If you're missing the Netflix show, this anthology series may temporarily scratch an itch for you. This issue isn't great - and the art is middling at best - but it does give a little background on a character who is easily overlooked with all the supernatural happenings in Hawkins, Indiana.

While this limited series hasn't been bad - if nothing else, if gives us more Stranger Things tales while we wait for the final season - this concluding chapter is an odd choice for a comic book. It's not necessarily bad, but it's not a great story to tell in a comic.

Fans of Sesame Street (isn't that everyone?) who are fed up with the state of the United States will find something to love here. Either that or they're going to be offended that these creators have desecrated a favorite childhood memory. It's a fun read in either case.

Survival Street is not a book about subtleties. If you believe guns should be in every classroom, you're going to hate this book and its liberal agenda. On the other hand, if you're fed up reading about the death and destruction in Uvaldes and Buffalos, you should give this Sesame Street satire a chance.

A subtle as a sledgehammer, this young series feels like it's already worn out its welcome. It started out as over-the-top satire, but somehow has escalated into something even more absurd and hard to read.

Oh how the mighty have fallen! What started out as a fresh take in the evils that exist in American culture quickly turned into a moralizing, over-the-top farce that has worn out its welcome after four issues. The artwork is a saving grace, but the story will strain the patience of even the most liberal among us.

What do you get when you mix a band road trip, a lesbian romance and some Civil War-era zombies? Apparently a lot of exposition and seemingly unconnected plotlines. Luckily some strong artwork helps to salvage the story.

For a series about endings, Swan Songs has a fantastic beginning. The art, which features the runup to a nuclear holocaust, is strangely beautiful. And the writing is top notch focusing on a mother-son relationship instead of the end of the world.

If you though you hated your ex, imagine having the chance to cut off his head or blast her to smithereens for all eternity. The creative team masterfully depicts the conflicting emotions of courtship, marriage and divorce in a memorable way.

The series about endings deals uses this issue to deal with what happens after the end. It's a post-apocalyptic story that will have you asking lots of questions about human nature and whether we are all just part of a story that was written for us.

Returning fans and new readers will enjoy the initial installment of this anthology series, which tells the backstory of several Nottingham characters. Written and drawn by the same creative team as the regular series, this limited series effectively fills in some of the story's gaps.

Dark cityscapes of a dystopian future and even darker terrors highlight this new kind of war of terror. A strong script gets things started, but the visuals really tell the story here.

After a strong first issue, the second chapter of this dystopian tale hits a snag. The artwork can be confusing during large battle scenes and the plot doesn't move the overall story forward in any appreciable way.

This series, which started out with a lot of promise, has hit a creative skid lately. This issue only deepens that creative moat as it does little than to set up a next part of the story in the least interesting way and most predictable way possible.

Exposition is a needed element for any story but delivering it in the middle of a limited series leaves readers with the impression that the first few issues were filled with bloat. The artwork is also inconsistent, alternating some great pages with some rougher panels and images.

Artist Dave Acosta delivers a great issue, filled with monsters pulled from people's darkest nightmares. While the issue's plot advances the story only so much, the visuals are more than enough reason to buy this comic.

The story in the issue can be summed very quickly. Yet it takes more than 20 pages to convey it to readers. While there are a few cool visuals, there's not much more to sustain this chapter.

Sheriff Joe Bob Coates returns for another promising story arc that features a massive blizzard, some political intrigue and a serial killer who likes to decapitate then stage his victims. Its a great start to a consistently strong series.

Readers looking for a thought-out story that takes its time to develop will enjoy That Texas Blood. It knows where it's going and doesn't apologize for taking a while to get there because it wants to build up the tension and flesh out its unique characters.

Some strong character-revealing moments along with artwork so strong that it requires no text highlight this issue. The series creators are thankfully still firing on all cylinders halfway through the series' third story arc.

Chock full of relatable characters just trying to live their lives under difficult circumstance, this series has become a must-read for anyone interested in great storytelling. The creative team understands the power of imagery and wisely chooses silence at the appropriate times to creep out its readers.

Like the killer in this story, you can cut the tension in this issue with a knife. A nice shiny knife that reflects the killers smiley face mask in it. This series continues to deliver an edge-of-your-seat story with compelling visuals.

The most suspenseful comic in recent times wraps up its terrific third story arc in grand fashion. The creative team is in top form and the results are a treat for the reader. You have a pretty good idea how the story is going, but getting there is the fun part.

Just in time for the holiday season That Texas Blood returns for its annual Christmas issue. This one features creatures like a mummy sheriff and a dentally challenged vampire, which could only come from the mind of a child. It's a welcome diversion and a great read.

The series that made us fall in love with a sheriff named Joe Bob (as well as its creators) is finally back after a long hiatus. Don’t expect those creators to change things up too much. They are committed to telling a multi=issue story, so this initial installment is meant to be an amuse bouche. The main course is coming.

The Eisner Award-winning creative team is back with a new story in the Bone Orchard Mythos. This first chapter in the 10-part series defies expectations by spending most of its time introducing readers to its many main characters. It's a curious choice, but one that is sure to keep readers coming back for more.

Andrea Sorrentino's artwork on nearly every page is a thing of beauty. Whether it's by deconstructing a page or presenting readers with unique angles, he is able to elegantly tell a story even a horror tale.

Transitional issues don't have to be boring installments full of talk talk talk. When they are done well - and they are done very well here - they help to move the story forward while also giving readers some much needed action.

The masterful creative team behind the Bone Orchard Mythos is taking readers on a journey. Exactly what is happening and where we're going is unknown - and ultimately not important because the journey itself is so methodical and well crafted.

The Closet deals with a universal childhood horror something creeping around in the bedroom closet. The creative team ratchets up the tension in their first in a three-part series of psychological terror.

A horror comic where a third of the story is an argument between friends? While it may sound like an odd choice, writer James Tynion seems to pull it off with his true-to-life style. It may not make for the most compelling comic book, but it is a good read.

Fresh of his Eisner Award win for best writer, James Tynion IV delivers another powerful, personal story. The writing is top-notch and is complemented by some terrifying visuals and a main cover that perfectly sums up the entire story.

Most exorcism stories are designed to scare the hell out of you - literally. With a strong story and dark visuals - including chilling letters - this premiere issue about the Vatican's chief exorcist comes very close to doing just that.

DSTLRY may be a new name in comics, but its creator-founders are a veritable who's who of talent. And this first publication, a sampler of stories, shows why these artists are some of the best in the industry. This is going to be big, people!

The team behind That Texas Blood is back with a new limited series chronicling a gang of Old West outlaws who get blamed for a murder they didn't commit. It's a strong start to from two creators who have earned their readers' trust.

If you are a fan of action - particularly the Old West variety with shootouts in saloons - this is the book for you. It takes the traditional lawman vs. villain story and turns it on its head, which makes for a great read.

Don’t ask what it’s about; just look at the pretty pictures. It’s the artwork that makes this premiere issue so interesting, as the story is as impenetrable as it is bizarre.

An unlikely pair of monster hunters. A killer Bambi and a magpie from hell. This issue seems to have it all, and yet it's not quite interesting enough to keep readers demanding more.

A great premise and a nostalgic look at the 1980s rock scene aren't enough to save this premiere issue from being overloaded with too much exposition and not enough action on the page. We hear about the heroics of demon-fighting roadie Joe D. but we are deprived of seeing the man in action.

After a bit of a slow start in the premiere issue, the action picks up considerably in this installment. Strong, witty writing and great artwork will make readers want to hit The Roadie.

While there's some action and a few demons in this issue, the story takes a little pause to give some character background. It seems a little late in the limited series to give us this information, largely because it takes away from some of the amazing artwork we're used to seeing from Fran Galan.

The Roadie concludes its limited run with a hellish battle between demons, an 80s-era rock band singer and his former roadie. While there's plenty of action, the story's conclusion occasionally gets bogged down with too much dialogue. The visuals, though, are consistently eye-popping in a good way!

Strong illustrations with shadowy characters make this premiere issue stand out. The plot, though, is a familiar one. And the lack of the title character is a cause of concern, given that's what most readers are looking for in the series.

Even if you don't know much about the 1940s-era hero The Rocketeer, this premiere issue should grab your attention. Stephen Mooney assigns himself double duty, writing and drawing this tale of the jetpack-powered hero as he considers whether to enter a race to Europe. Spoiler alert: He does!

While this issue is billed as the next chapter of the Rocketeer, our hero barely makes a cameo. Instead we're forced to ensure some out-of-character choices from our hero's alter ego and some one-dimensional behavior from the supporting cast.

The title of the series is The Rocketeer, but the hero has been noticeably absent from most of the story. Luckily, he saves the day in this latest installment. Let's hope he sticks around for good.

With nearly all of the first three issues devoid of the hero, this final issue in the limited series serves up the Rocketeer in buckets. It's a welcome change and showcases the title's most exciting artwork yet.

When the worst person in the world becomes a superhero, hilarity ensues. The problem is this story is a familiar one and doesn't blaze a new path - at least not yet. Add to that page after page of overloaded panels and you get a schlub-overload.

The Shaolin Cowboy returns for a new seven-issue series. Excreted from the wonderfully warped mind of Geof Darrow, this latest installment shows the unnamed protagonist through the eyes of a baby Komodo dragon, who narrates the tale. Just go with it. It's great!

Only Geof Darrow could create a comic so insanely compelling. The visuals are consistently amazing and they just keep going getting better with each page and panel.

Geof Darrow fans will continue to rejoice with the irreverent humor and unique imagination of the master storyteller. This latest chapter features the katana-wield hero fighting a massive plucked chicken, a floating jellyfish and a Komodo dragon bent on revenge. Pure Darrow. Pure joy.

Writer/Artist Geof Darrow knows when he needs to change things up in his stories and has mastered the pivot. That is on display in this issue, as old threats are vanquished and new (and other old) ones challenge our kung-fu-fighting Cowboy.

You could literally spend hours looking at the incredible detail that creator Geof Darrow has put into this issue. And you probably should. It's an embarrassment of riches for the eyes and likely several other senses as well.

Geof Darrow's fantastic next entry of the Shaolin Cowboy saga nears its end in this issue as multiple enemies converge on the hero. But the story has always taken a back seat to Darrow's visuals, which never disappoint.

The latest Shaolin Cowboy series ends in typical Geof Darrow fashion spectacularly with acerbic wit and intricately stunning visuals that would take hours to fully digest. Throw in a giant pig, talking dogs and some kung-fu action and you have the perfect comic book.

With a death toll that approaches slasher movie numbers, The Silver Coin is not for the faint of heart. But strong writing and artwork by Michael Walsh make this a horror story worthy of your time.

Readers with an appetite for horror will enjoy the latest installment of this anthology series. Though they may lose their appetites as they read this terrifying tale of diner patrons with insatiable hunger and limited food.

The horror anthology series returns with a tale of a soldier seeking first blood during World War II. Great artwork from Michael Walsh and some supporting colors perfectly depict the bleakness of war and the impending doom brought forth from the eponymous coin.

This usually reliable series takes a misstep with this issue, which has turned up the gore factor to 11. The story doesn't offer any redemption, so it's largely an exercise in getting grossed out.

Most of us want to forget everything about the year 2020, but this issue uses the year from hell as a was of exorcising some demons. In this case, though, the demons may well be literal ones. It's a strong story with wonderfully disturbing artwork.

Series co-creator Michael Walsh pulls double duty on this issue as both writer and artist. It's the last we'll see of The Silver Coin for a while, as he raises his family. It's a fitting ending for now of a consistently strong series.

Some creators would take several issues to tell a story as intricate as the one presented here in a single chapter. Creator Thomas Scioli crams more than seems possible – particularly from a visual perspective – into every page of this story about astronauts whose thoughts start to become real on an alien world.

It’s really creator James Stokoe who is in the zone in this issue – visually at least. He delivers a gorgeous issue, from cover to cover. The story takes a back seat to the artwork, but it’s still classic material from this well-respected anthology series.

This story of sibling rivalry delves into familiar territory as a loser brother and his would-be helpful sister try to enjoy a houseboat vacation. It’s a familiar story, but one that doesn’t give readers a very satisfying ending.