The greatest problem withA Game of Thrones as a comic series is how formulaic it. Abraham seems to cut-and-paste the text, and even Patterson's beautiful pencils are consistently arranged in perfect rectangular panels. Luckily for issue eleven, that formula works unusually well with the subject matter on hand.

With all the options available for getting yourGame of Thronesfix, I don't know why you'd choose this one. If you want to Martin's words, read the books; if you want to see the story realized visually, watch the show on HBO.

Zac Boone is optimistically expecting The Winds of Winter in 2014. He deserves to have his faith rewarded. Follow him on twitter.

While A Game of Thrones#14 struggles with the same problems that have plagued the series as a whole, it does at least manage to avoid any glaring problems in the process of adaptation.

While the story develops problems as it gets more complicated, the art is shockingly good, especially Bryan Hitch's attention to detail and the volume of content he fits on each page.

The conclusion Ross brings us to at the issue's end is odd; it feels like we're a single battle away from wrapping up the series, and yet there's enough uncertainty surrounding the choice Tommy made that things could still get worse before they get better. As great as the art from Hitch, Neary, Paz, and Mounts is, the story is so much political sound and fury, with very little in the way of a message. Hopefully, in the issue it has left, the series will find a way to say something meaningful.

While somewhat stilted due to the change in the story, America's Got Power#6 is still more than enough to keep me excited for what's coming in the final issue.

I should talk about the art a bit, but I've already used my allotted word count in my ranting. Suffice it to say that Bryan Hitch's art it beautiful, though difficult to decipher in places. Colorist David Baron's work is a bit dull, up until the last few pages, when things start to pop. Is that supposed to mean something?

Interesting as the main story was, it's the backup by James Tynion IV and Andy Clarke that stole the show.

“Death of the Family” is off to a fantastic start. To say there's room for improvement sound's like criticism, but I say that because I'm confident things will get even better from here, now that the pieces are in play. You will regret not picking upBatman #13.

While it's not quite up to the high level of the previous issue, Batman #14 is an excellent book and easily worth price of admission.

Despite mysuspicions about, well, everything at this point,Batman#15 is still great. Snyder, Capullo, and Co. are delivering the most definitive comic book take on the Joker since The Killing Joke. If you're not readingBatman, then, #1) you need to fix that, and #2) why not?

It's impossible not to draw comparisons between “Death of the Family” and the previous major story arc, “The Court of Owls.” The two are equally grand, so for the first few issue of DotF I wondered how Snyder would fit a story of similar scope into only 5 issues. Now I realize that, equal though the stories may be, where Court was epic, Family is intimate. This isn't a secret society bringing the power of a city to bear. This is your dark half, whispering in your ear, telling you all the things you don't want to hear.

Whoever writes the next Joker story has a lot to live up to. "Death of the Family" is possibly the definitive Joker tale of a generation, and has established an entirely new interpretation of one of the most interesting relationships in comics. The falling out from this story is also likely to have a huge effect on the bat books as we go forward, and it should be great fun to see those ripples spread.

Batman #19 may not be part of any big storylines, but it's already far more relevant than most of the shorter arcs we see. Snyder, Capullo, and Tynion have delivered another high-quality Batman adventure.

Despite my criticism and my belief thatBatman#23 isn't up to the standard of Snyder's previous issues, I readily encourage everyone to pick it up. It's still one of the best books on the shelves today. It's a shame we have to wait two whole months for the next chapter.

Ozymandias #1 is not the warmest or friendliest of theBefore Watchmenbooks, but it is the most beautiful so far. Hopefully Len Wein will delve into all-new territory where he can break loose. Jae Lee could stand to loosen up a bit as well when it comes to the action scenes, but, honestly, I won't be at all disappointed if he keeps doing things exactly the same way.

Ozymandias #2 is the first of the Before Watchmen books I've read to improve over its first issue, and based on the cliffhanger, issue three should be just as good, if not better. If you're only reading one Before Watchmen series, Ozymandias should be it.

Ozymandias continues to hit the necessary bullet points in the story, which may leave readers who focus on plot unsatisfied, but no one lays out a panel like Jae Lee. His art is fantastic, and worth the price of admission all by itself.

Casual fans of Watchmen may find Ozymandias #5 superfluous, but the dedicated will undoubtedly appreciate the insights and Easter eggs the issue holds. Jae Lee's art wants for nothing and is further evidence that Before Watchmen has been an unquestionable masterpiece in terms of art, if nothing else.

Overall,Before Watchmen: Silk Spectre #2 maintains the high quality we saw in the first issue. On a panel-by-panel basis, the writing is fantastic, although the story arc as a whole slips. Final note: I'm finding it harder and harder to reconcile the predominantly cheerful teenage Laurie, with the lost, jaded adult we meet later. We can always chalk the disparity up as a case of "people change," but I really hope Cooke and Conner address the personality shift before the series' end.

If I have one problem with Silk Spectre #3, it's the excessive nudity. Even that, however, is used for very specific reasons. Over all, this book is a perfect storm of beautiful art, clever writing, and touching storytelling. I hate to see it end next month.

While the need to tie back in to the original Watchmen story results in an imperfect ending, Silk Spectre #4 is an extremely laudable finale, and, as a whole,SS may be the best BW book to focus on an individual character. I imagine it will read even better when it's collected, although that will likely be in an incredibly expensive and cumbersome Before Watchmen Omnibus.

Catwoman#13 is definitely one to leave off you list this week; even those fantastic cityscapes can't save it. There's always a slight chance that future issues will suddenly make this one make sense, but I'm not optimistic. I just have to hope things will improve as Nocenti settles into the book. Fingers crossed.

Image mentioned that this isn't the best starting point for new readers, and that's definitely true. In fact, anyone who's been away from more than a couple issues will need to play a little catch up before read issue #30. Still, they'll find that it's definitely worth it.

Chew#31 isn't the great jumping on point I'd like it to be, considering it's the start of the series' second half. Overall, though,it's great to have Tony back in the lead, even if we had to sacrifice his sister in the process.

While it doesn't exactly grab you by the throat, Chew #32 has enough action and more than enough humor to keep you entertained. I do wish that John Layman would play things a bit more straightforward, although I supposed the series would lose much of its charm in the process.

We're halfway through the “Bad Apples” arc, and it's fast becoming my favorite in the series so far. Tony's been kicking ass for a few months now, but it looks like next issue will really bring the pain.

The “Bad Apples” arc feels like it's leading Tony to a big confrontation with the vampire. Given that the series still has 25 or so issues to go, it'll be interesting to see if that confrontation actually takes place, and, if so, where we'll go from there.

While issue #37 would be a horrible jumping on place for new readers, it makes me think that the “Family Recipes” story arc may turn out to be my favorite thus far, and any lapsed readers may want to give it another go.

If you're unfamiliar with Chew, youwon't have any problem following along with Secret Agent Poyo #1, but neither will you receive an introduction to the larger series' story. Longtimefans will definitely want to pick it up, however. Not only is it consistent in terms of art and writing, but it has some ties to events in Chew #27. These seem cursory enough, but might be important going forward.Regardless, if you enjoyChew, you need this book.

Intriguing as Niles' concepts are, it's Harris' work that carries the issue. You don't have to buy it with story in mind. Just stare at it.

Creator Owned Heroeshas some great stories to offer. Some of the other material feels like filler, but overall it's cool to take a backstage look at the industry we all love. While the story/publishing info combination may not appeal to everyone, I recommend you give it a shot.

While I don't doubt that the two new creations (series? stories?) appearing in next month's issue five will be interesting, I'm also peeved that the first two came to relatively abrupt ends. “Triggergirl 6″ especially felt cut off, as if it didn't have time to reach a natural conclusion. The fact that both stories ended at the same time makes it even more frustrating.

As always, Creator Owned Heroescontains a ton of additional material; this issue includes an interview with top-talent artist Amanda Conner, as well as questions from Palmiotti's twitter followers and an article on writing comics. If the conclusion of the initial stories made you consider dropping this book, you better think again.

AsCreator Owned Heroes continues to pick up speed, I have to recommend you grab it. There's always a ton of interesting content, and while it's not there yet, this book has the potential to be a pillar of the comics community.

Creator Owned Heroesisn't merely a title for your pull list. It's required reading for anyone who claims to give a sh*t about comics.

Creator Owned Heroeshas been a bold experiment for comics, and its end doesn't bode well for an industry that continues to struggle (despite recently reported sales increases over previous years). Here's wishing all the best to all the creators involved, and hoping that any similar offerings meet with better reception in the future.

There are some great stories in Creepy #12, but, with the exception of "Pack Leader," they're a bit too similar in tone. A bit more variety could do a lot for this book.

I look forward to growing more familiar with DHP in the coming months, as discovering brand new stories while continuing new installments of older ones is part of the joy of reading a comics anthology series.

As always,Dark Horse Presentsis a great showcase for a wide variety of work. That said, this particular issue is a bit over-burdened with chapter ones, threes, and fours. Hopefully they'll mix in more one-shots and two parters in the future.

DHP is always a treat, and issue #24 is no exception. You're sure to find a story, a writer, an artist, that piques your interest.

While relatively weak compared to previous issues, Dark Horse Presents #25 is nevertheless an enjoyable read, and I encourage you to pick it up without hesitation

As always, I can't recommend Dark Horse Presentsenough.

While I have to say this wasn't my favorite issue ofDHP, it still offers a selection you won't see anywhere else. Besides, with vampires and eye crud, what more could you want?

Over the past few issues,DHPhas become a bit bogged down by several long-running stories that make the book less accessible, but there are several gems this month, and the huge influx of new properties next month has me really excited.DHPcontinues to deserve all the praise.

If the issue four conclusion to Dejah Thoris and the White Apes of Mars is indicative of the rest of the series, I count myself lucky that I haven't had to read it from the start.

Nitz and Smallwood have crafted a great debut for this series. The plotprogressesnicely, though there are still plenty of questions, and the understated reveal at the end should ensure you'll want to check out the second issue.

Dream Thief#2 isn't quite as good as it's predecessor, but it's still enjoyable, and the art in particular is gorgeous. I'll certainly be sticking around for issue 3 (and not just because I've been assigned to.)

If you haven't been reading Dream Thief, at the very least be sure to pick up the trade paperback in a few months. I cannot oversell how much you'll enjoy it.

If you enjoy classic comic book art -or bizarre non sequiters in speaking style – thenThe Fall of the House of Usher#2 is one you'll want to pick up.

Even though there's still plenty left to do and no end has been announced for the series, as of this issue, it feels like we're getting close. More storylines are being tied up than added. If Fablescan keep turning out issues like this one, the series' eventual end will be poignant indeed.

It may be as crowded as a Tokyo metro, but overall I enjoyed Chapter Two of "The Hidden Kingdom." I know I'm partial to anything related to Japan, but Lauren Beukes has created some very interesting story threads that I can't wait to see developed, especially now that the groundwork and backstories have been filled in.

The universe ofFlash Gordon: Zeitgeist and Merciless: The Rise of Ming is easily my favorite of all the world's Dynamite has in it's corral. Now if I could only get them to do more of this, and fewer stories about a certain warlord of mars…

While the art remains fantastic,Flash Gordon: Zeitgeist is ultimately another pretty action-oriented book that offers more in the way of style than substance.

Flash Gordon: Zeitgeist#8 is a respectable issue, but may not appeal to everyone. Reader's who aren't strict completionists may want to use their money elsewhere this month, perhaps experimenting with a new title.

Because of issues with pacing and scheduling, I'm beginning to believeFlash Gordon: Zeitgeistwillfunctionbetter in a collected format. As I mentioned, Ron Adrian's art style fits perfectly with the rest of the series so far (the continuing presence ofSlamet Mujionoon colors definitely helps with that.) Until then, keep your old issues close to hand for easy reference.

With a confusing, disjointed story and an unfulfilling ending, Flash Gordon: Zeitgeist#10 is a disappointing conclusion to series that, up to this point, has had many more hits than misses. It's obvious the creators hope to continue the story in the future, but with no indication of when that might be, right now we're left feeling thoroughly unsatisfied.

IfGreat Pacific can iron out some of its storytelling problems, it stands a chance of joining the long list of truly great books put out by Image, but issue #1 isn't there.

Great Pacific is still young, but is already finding its footing. The problems it has could be handled with relative ease, and then we'll have another Image book that's a force to be reckoned with.

Great Pacific#3 plants some seeds that could prove interesting later on, but if you've been on the fence about this series you may not have the patience to stick it out much longer. Especially if Martn Morazzo doesn't get more to work with.

Great Pacific persists at drifting in the awkward area where it's interesting enough to continue reading, but still failing to achieve it's potential. It's positive elements are such that I can understand people who like more than I do.

As I said, Great Pacificstarted off with a great concept, but seems to have lost direction. Maybe now that certain subplots are sufficiently progressed, Joe Harris can really get us moving again. Morazzo is generally on top of his game, but could jump up into another tier if he could only break a few habits.

As frustrating as much of this issue was to read, I will give Joe Harrisprops for a surprising, though not unbelievable, ending. It will definitely make future issues interesting.

This new volume of Great Pacific offers intriguing new setting, conflict, and status quo, but unfortunately suffers from the same faulty character work.

Overall,Great Pacific #8 completely re-energizes the series, almost completely by the force of its atmosphere. Here's hoping the trend continues.

While the end ofGreat Pacific‘s second arc is still a few issues away, I can feel Joe Harris setting up the pieces to drastically shift the series' status quo yet again.

Given how weird Grim Leaper normally is, issue #3 stands out for itssheer normalcy. Either in spite of that, or because of it, this was the best issue yet, and I'm looking forward to the final issue next month.

Grim Leaper #4 plays against expectations in a lot of ways, but ultimately delivers a satisfactory ending to a series that”s generally been pretty, well, grim.

Happy! may not be the most original concept we've seen from Grant Morrison, but it hasn't been explored as heavily as a lot of the others out there. Besides, Morrison and Robertson provide such a complete vision with so solid an atmosphere that the old idea is made new all over again.

I dearly hope that Happy! will function better in a collected format. Such presentation should certainly benefit some of the plot elements that spend most of their time on the back burner. The choice of Darick Robertson as artist for this series was inspired. As a solitary offering from Morrison, however, it's an interesting exercise, but is ultimately neither as impressive nor as powerful as some of his other creator-owned work.

Having read Harker: The Book of Solomon, would I read a sequel? Definitely. Would I want to pay for that sequel? "Probably not, unless Gibson and Danks could convince me that the reading would be more fulfilling than this one. Still, in terms of visuals, Solomon is one of the strongest books I've seen this year, and those who read comics mostly for the art would do well to pick it up.

Even though this is just the first issue, I was still hoping for a certain amount of resolution, just to better understand what's going on. A mystery that's spread out over several installments is fine, but only if we have sufficient context to base our guesses on. Unfortunately, no such resolution occurs, and we're asked to come back for another issue. That is, if we want anything to make sense.

Richard Clark's art is decent, but it's lost the little something special it had back in the first issue. Just like the writing, the pencils are off in places, and it's difficult to tell if it's intentional or not, although I tend to think not. Doing something poorly rarely gives any impression other than that the thing was poorly done. The Human, in particular, often appears both flat and twisted. It's not a good look.

House of Gold & Bones definitely has a plot. Unfortunately, it's too long in coming and unfulfilling when it manifests itself. That said, while a disconnected series of images doesn't hold much appeal for me, I can understand how fans of Taylor's music might like it, and Clark's art definitely reinforces the dreamlike and musical nature of the book.

Invincible #93 has some strong concepts on both the writing and art fronts, but it sometimes feels cobbled together.

Overall I have to say I was pleased with this issue. Robert Kirkman delivers an emotional and gripping installment for the series with Invincible #94, and whether you guess the cliffhanger or not, you should be excited for next month.

As someone who has only been reading for a few issues, I'm worried about how Monster Girl's character will continue to develop once she and Robot are no longer center stage. But until then, I'm eager to see how things play out.

After all the hype about issue #100, I was hoping the first installment of this important story would feel more, well, important. Maybe after the plot catches up to where it needs to be, things will even out and the story will improve, hopefully in time for the big anniversary issue.

From the very beginning, “The Death of Everyone” has suffered from having too much story to tell in too-small a space, and that problem persists. While I don't really foresee the story righting itself in next month's concluding, extra-sized issue, there's always a chance.

Invincible #100 bucks quite a few expectations for an anniversary issue. It's nice to see that, not only is Robert Kirkman looking forward to the book's future, but he's also setting up a new status quo that could propel the story for years and years to come.

After the previous three issues of nearly nonstop action, it's nice for Invincible to slow down a bit to get resettled. But while this issue did keep me casually interested, it never got me really invested, given its somewhat ho-hum approach and lack of urgency. That said, the foreboding ending suggests that the calm between storms won't last long. Maybe I should learn to appreciate it while I have the chance.

Invincible#102 has a fisticuff-laden plot made heavy by the weight of its revelations and developments. Long-time readers, in particular, will find it very rewarding.

The issue's final page is marvelous, from both story and art standpoints. Kirkman sets up one of the most intriguing cliffhangers I've encountered in some time, and while it's accessible to newer readers, longtime fans will appreciate it even more. Ottley frames the scene as an incredibly disturbing over the shoulder shot that really brings the horror home.Not even during the “Death of Everyone” arc was I this excited about an upcoming issue ofInvincible.

Invincible #105 is new reader friendly " to the point that long time reader's could almost skip it. Still, I'm interested to see if Robot turns into the series' next supervillain.

If you're not the biggest Invincible fan, you might give this one a pass.

While you"ll definitely want to catch up on some previous issues, particularly the Earth-shattering Invincible #98-#100, Invincible Universe #1 will be waiting with a gorgeous, albeit slightly crowded, look at the wider Invincible world.

It's odd and vaguely disorienting to see such a drastic change in tone partway through a second issue like this, and it leaves me wondering about the attitude of the series going forward. Was this a temporary fluke, or willInvincible Universebe this serious from now on? Or, a third possibility, will we see a finer balance struck between the fun and grim elements?

Invincible Universe#3 is a good done-in-one story. While it doesn't feel completely essential to the series, it's a great introduction to Chupacabra's character.

While the twist is hardly unexpected, this is another high-quality issue ofInvincible Universe. In terms of craftsmanship, no series can beat it.

Invincibleand its companion books have always made a habit of referencing events from quite a while back, but they seem to be doing it more lately. That's not a bad thing; it means the books are very well planned, are written with an acute awareness of in-universe history, or both. But continuity is so strong here that even not-so-recent initiates will be lost.

Again, while I like the direction Hester seems to be taking the series, this particular issue was a disappointment. As trite as sounds to talk about the journey being just as important as the destination, it's true here in the sense that hurrying the story just to get to certain points just drags the work as a whole down.

I can't make an authoritative judgement on the series as a whole, but I can say Kirby: Genesis #8 felt like it must be a satisfying end to the series. (Then again, I might just be a sucker for meta-fiction. Then again then again, I'm pretty sure everyone loves meta-fiction.)

Is KISS #2 fantastic? No. But while I imagine the band's fans will enjoy it, others might be turned off at the idea of buying a comic about a washed-up rock band. Don't let those kind of preconceived notions be the thing that prevents you from picking this up. (However, feel free to let otherthings keep you from picking it up. That's yourprerogative.)

Not being a big KISS fan myself, I can't say for sure whether this issue will meet with they're approval, but considering how distracting the 70s rock band is from what's otherwise a pretty good book, I hope they're happy.

As a straightforward comic – no literary aspirations, no serious attempts to draw the reader in, no groundbreaking art – KISS#4 is pretty good. It may not be best if your looking for an engaging ongoing series, but if you're looking for a fun read this month, you might check it out.

KISS #6is my favorite issue of the series to date, as we finally get a sense of a greater story beyond simply watching the Four-Who-Are-One body-hop their way through time and space.

As you might expect for a final issue like this, a lot of the story depends on what has happened before. That said, if you've read any of the series' earlier issues, you'll probably know what's going on. With fun, well-balanced storytelling, this issue is definitely worth picking up. Waltz, Ryall, and Loh have gone out with a bang.

Single issue, character-focused stories such as this often encounter two problems: a formulaic approach and a failure to contribute to the series as a whole. KISS: Solo #1 definitely suffers from the former, and, unless I miss my guess, will be guilty of the latter as well.

Without a strong sense of direction, stories such as this, which focus on individuals who are normally part of a group, can quickly fall apart, and this time not even great galactic space art can save the day.

Zac's discount card-filled wallet is cutting off circulation to his leg. Follow him on twitter to hear about more of his odd problems and complaints (that's what twitter is for).

If inconsistent quality is a dealbreaker for you, I recommend skipping this issue, but if you can appreciate a few diamonds in the rough, give it a shot.Either way, take a month off from KISS and then return for another four issue series starting in August, this one an all-ages series called KISS Kids.

Locke & Key: Alpha#1 won'tignite a twitterstorm the wayBreaking Bad did this week, but it's still a great issue, and one that will satisfy a lot of readers who've been waiting for years. And remember, in1issue, it's all over.

It should come as no surprise that Hill is too subtle to throw us into deep water right off the bat. Rather, he jacks the tension up notch by notch by eschewing action almost entirely. There are a few things to keep an eye out for, particularly a certain team of paramedics, and a blink-and-you-miss-it, “Holy Crap!” detail in the last scene. If you haven't hopped on theLocke & Keybandwagon yet, you still have time, but asthe cover of this issue gleefully proclaims, “In 6 issues, it's all over!”

With the exception of that one extraneous scene,Locke & Key: Omega#3 is another great issue that marches us inevitably closer to Tyler, Kinsey, Bode, and Dodge's final bow. I'm both eagerly anticipating and dreading the next issue, when it looks as though all hell will really break loose.

Success on three out of four storylines is more than a passing percentage, but the bungled cliffhanger feels cheap, especially so late in the saga, when virtually every reader is on board 'till the bitter end.

Locke & Key: Omega#5 is another great issue for this series, but in no way does it feel like the end of an arc, because it's really not. The unfortunate re-branding of the final issues may make this issue's ending feel strange, but nothing's really changed.

While not as emotionally gripping as Guide to the Known Keys, Grindhousewill please most Locke and Key fans. It maintains the series' characteristic sickening blunt trauma quality even as it injects a sense of fun that's grown scarce as we draw closer to the series' conclusion.

Merciless: The Rise of Ming#4 fails to live up to the promise of the series' previous issues. Considering the burdens it's under due to its status as a sequel, however, it could have been quite a bit worse.

We've seen a lot of the elements of this story before, but Gregg Hurwitz has mixed them in such a way that they seem fresh again. Ethan Van Sciver's art is, not unexpectedly, a lot of help in that regard. With the Joker becoming increasingly dark in recent years, it's nice for Batman to have a villain who can be flat-out silly at points, with a capricious bent, while still being a sinister threat.

I'm glad to seeSecrethas returned, especially with such a strong issue that fixes some of the problems of the first two (and there weren't very many problems to begin with). Even better, the fourth issue is due out September 25, and the fifth just three weeks later on October 16th. It really is feast or famine with this series, but right now I'm more than happy to chow down.

Overall, Charles Soule and Kano have created an interesting first issue for their run that suggests they have big things in store forSwamp Thing and his readers.

If you enjoy nonsensical storytelling; balloons with teeth; or -most importantly- trippy, frantic, brain-liquidating art, you'd do well to pick upThe Adventures of Augusta Wind#1. Always assuming, of course, that you can actually read it. I recommend giving it a flip-through before buying, to make sure those text boxes are legible. Hopefully IDW will fix that in any later printings, or at least in the trade.

Most ofAugusta Wind‘s problems could be solved with great ease. The most obvious is, of course, the issues with the text, but most of the other failures result from the creators trying too hard. If they were only to relax a bit, with a less troubling, less hurried story and less frantic art, Windwould definitely pick up.

The Black Beetle: No Way Out#3 is an incredibly fun read, not in spite of its dark grittiness, but because of of it.

If you aren't previously familiar with “The Cape” in one form or another, you'll likely be bothered with the fantastic elements of the plot in The Cape: 1969 #1, but you'll still get an awesome war story. I'm just sad that the naked floating Asian dude is gonna get more involved later on.

The little boom man was a fairly passive character, in spite of his important role in the story. Chase needs to get some answers next issue, and really put his new talents to the test.

The Cape: 1969 is consistently excellent, and easily ranks among the strongest mini-series out there today. If you not reading it already, get it now, so you can enjoy the conclusion with me next month.

High expectations for this conclusion toThe Cape: 1969 may be disappointed, but the writing is serviceable and the art makes me wish I, too, could fly, regardless of the consequences.

Zac's super excited because he just remembered there's a CoCo-Ichibanya Curry House in L.A. that he can eat at when he flies out for SDCC. Follow him on twitter.

The new Crowseries is completely accessible to new readers, who have no prior knowledge going in. If you've previously heard of the series, or the films, you should check it out. The same goes if you a fan of moody, evocative artwork. Whatever your reason, I'm confident you'll be pleased.

With The Crow: Death & Rebirth #2, John Shirley delivers an okay story that struggles to embrace the loss of the principle characters. Kevin Colden's artwork still lends eerie atmosphere and a slight impressionistic quality. If the art was your favorite part of the first issue, you should enjoy this one well enough.

As superfluous as this issue feels, it seems to get the story to a point where it can regain focus next month. I have a feeling that by the time Death & Rebirth is over, I'll think it only needed four issues. Hopefully I'll be able to say issue three was the worst of the series.

While The Crow: Death & Rebirthstill has more than it's share of problems, it has some good qualities as well, and an excellent lead-in to the final issue, with the prospect of a real fight for our anti-hero.

The Crow: Skinning the Wolves#1 somehow manages to fly by whilesimultaneouslygetting the series off to a slow start. Neither problem, however (if the first can even be called that), is enough to derail the story's powerful emotional resonance. Still, there must be a lot of ground left to cover, and with only two issues to go, we're already behind.

The Crow: Skinning the Wolves has a number of problems. Depending on what O'Barr and Terry do in the final issue, most of them could be solved, in which case the story will function quite a bit better when it's collected in trade format. Unfortunately, that doesn't fix the individual issues as we read them now.

The Crow: Skinning the Wolves'short run, combined with its inability to stand out make it little more than a footnote for the overallCrow saga. Hopefully O'Barr, Terry, and company can use it as a warm-up for an extended, more dynamic installment in the near future.

Fool Moon #8 is par for the series' course, particularly in terms of the interaction between art and text. Calling it little more than an picture-book would be extreme and unfair, but that gives you an idea of where the book is leaning. Honestly, I wasn't expecting anything else, given this is the last issue of the mini-series.

If you've never triedThe Dresden Filesbefore,Ghoul Goblin may not be the best place to start, but if you're a Butcher fan, or a lapsed reader of the previousDresden graphic novels, you should giveGGa try.

In it's second issue,Ghoul Goblinstill has some problems but is improving steadily. Cooper's art, with colors byMohan, is a highlight, and if writersButcher and Powers can break loose of the pattern they're in, they'll have a great series on their hands.

Zac Boonecould go for one of the Renaissance Fair turkey legs right about now. Follow him on twitter @gingitsune23.

Don't get me wrong: I enjoyed this issue a lot. I just know the whole series will work a lot better in a collected format.

Hicks' artwork is quality stuff. Expressions play a crucial role in this issue, and she succeeds in that regard. Some of the backgrounds are nonexistent, but when she includes them, she really goes to town. My biggest quibble is one that readers who started with issue one will already have come to terms with. I have no problem with cartoonish artwork being paired with dark subject matter. However, hyper-realistic graphics have been a major selling point for the game itself, so I was pretty shocked by the drastic difference in the art of the book. Again, it's only a problem in that it took some getting used to.

I really want to likeAmerican Dreams, but it just doesn't work for me. The unlikeable characters, the meaningless plot, the beautiful, but mismatched, art, almost completely undercut my enjoyment of the book.

One of the great abiding weaknesses ofThe Manhattan Projectshas been that all the characters are generally unlikable (Pitarra's art contributes greatly to this, as he makes all the characters visually grotesque). This is true of Grottrup as well, who, while sympathetic and not exactly disgusting, is still a Nazi. Jonathan Hickman is an undoubtedly a good writer, but I question his ability to indefinitely maintain a series with no likable characters. While the Manhattan Projects has no scheduled end in sight, I'm confident not only that Hickman has an end in mind, but that it will come sooner rather than later.

All in all, despite the interesting changes and reveals we see this issue, it's ultimately bogged down by the excess of conversation. It's understandable that, in a book about intellectuals, a lot of the plot would be mental and take place in conversations, but I really wish there were a greater sense that things were happening.

If issue 8 is any indication, 2013 is going to be another stellar year for theMP, and I' m personally hoping the book sticks with this new, more direct approach.

Overall, this is another great issue ofThe Manhattan Projects. The ending is so elegantly accomplished, it feels like Hickman did a magic trick right in front of us, before we even knew it was happening. Pitarra's layouts and depictions, along with coloristJordie Bellaire, of the various outlandish characters make this one of the most visually engaging issues to date.

IfZac Boonehad multiple personalities, he might be able to get caught up on everything. Follow him on twitter.

The Manhattan Projectshas always been full of dark humor, but issue eleven has likable characters, cheerful jokes, and heart-warming moments surpassing all its predecessors. Now I'm really scared what Jonathan Hickman will do next.

The Manhattan Projects#12 drags the skeletons out of yet another character's closet, but, in the process, it makes last issue's focus character, Harry Daghlian, even more likeable as he suffers the betrayal of a friend.

While this certainly wasn't the series' most exciting issue, it gives us an even greater sense of depth, and seems to suggests a lot about whereProjects is going. I just hope Laika makes it back from space okay.

I often find myself wondering how longMPwill go as a series. Sometimes I sense it building to a head and think it could end within a few months. Other times I feel like Hickman is still laying groundwork and that the series will go for fifty more issues. I guess that's just how good Hickman is at hiding his plot.

Time Warp has it's weaknesses. Some stories feel strangely out of place, which is disappointing, given the exceptionally broad parameters of the book's theme. More frustrating is the lack of new talent. Anthologies are the prime venue for showcasing new creators, but with all the established names, apparently there wasn't room for a single unknown. That said, those big names turn in some fantastic work.

Thanks to better flow and a lack of confusing airship battles, Warlord of Marssteps it up this month. A word of warning though: Dejah Thoris isn't seen this issue (except on the cover), and the new purple princess just can compete.

As I said, technical issues were my only real complaint for Warlord of Marsthis month. The plot and characters were great, and everything comes to an unsettling end. I really hope next month picks up on the emotional threads left over from this issue.

Again, all of this matches the tradition of the golden age of comics. While it's certainly an interesting change in the style of the book, I really do wonder how much of it was intentional. I guess only further reading will tell. Until then, keep you tongue in your cheek if you start this new Warlord of Marsstory arc.

As much asWarlord of Mars#22 struggles in places, it mostly stews in mediocrity, rather than plunging into the truly awful. It does have a few good aspects – a couple action scenes and some political machinations – but I'm largely disappointed that the book has suffered such a drop in quality.

If, like me, you're one of those people who sometimes allows small mistakes to ruin their whole experience, Warlord of Mars#23 may not be for you. If you're not that kind of person, however, you might give it a try, especially if you're mostly into comics for the art.

Warlord of Mars: Dejah Thoris #13 is the worst kind of comic book. It gives the whole industry a bad name. It's essentially porn. You see the get-up she's wearing on the cover? That's more than she ever wears. If you're going to buy this book, fine. Just call it what it is and don't delude yourself into thinking it's because the story is good.

Warlord of Mars: Dejah Thoris isn't porn, but it's right next door. Only a couple lines of artwork and the slightest bit of plot separate the two. (I really wish it was porn, because – let's face it – porn, but also because then we could actually think of it that way and not have to insult the entire comic book medium by thinking of it as legitimate.) Napton and Rafael's work should largely be excused their failures, as I'm sure both are capable of better and it's editorial that determines the generally bad-tasting tone of the book.

As usual, if you're after a good story, there are better books to spend your money on, but if you want to look at big jugs, you've come to the right place.

Obviously there's more to this issue than Dejah Thoris wandering around in the snow, and some of the plotting is okay, but I find it difficult to care about the story when Dynamite itself is so obviously apathetic in that regard.

Despite some story slips and art issues, Warriors of Marsis making the best original contribution to Dynamite's Mars universe and I look forward to the conclusion coming soon (now if only someone could explain to me why Mars has two suns…)

Whispers#4 is brilliantly plotted and delivers a great twist, but given the four month wait since the last issue, I was hoping for something a bit more impressive.

After so long a wait, it's frustrating that this issue didn't have more to offer. That, in turn, makes it even harder to be excited about Whispers' final issue, whenever it may come.