A basic script by Chuck Dixon about new superheroes fighting evil in a city. Although I think Bennett continues to pioneer with his art, nothing has yet surpassed what he did in Immortal Hulk. Being critical, although I thought the book was cool, I think this publisher has to deliver more than the basic rice and beans if it really want to give the answer to Marvel and DC.

A dark comic that manages to be even better than the film's sequel. Here we have a character (related to a character from the original film) who is becoming paranoid, and then he goes to visit Sharon Stone's character, in which we don't see her face, but rather her sensuality and how she has aged over time but NEVER lost its deadly touch.

I'm suspicious of talking about the quality of this book since I liked Haunt You To The End. The atmosphere of suffocating horror prevails, not just being a gore comic, but one that leaves the reader tense and at the same time anxious for the next issue.

This is definitely the Conan reboot that Marvel should do, but ended up opting to socialize the character with the Avengers and more of the same things we usually see at Marvel today. Titan wasn't kidding with the initiative with Heroic Signatures, as their Conan the Barbarian has been simply phenomenal since the first issue. Here we have the big return of De La Torre and a splendid crossover between two of Robert E. Howard's characters. The conclusion of the previous arc was brutal, and now we have something that goes further. Magnificent!

The way Jim Zub revitalized Conan made this book one of the best today. Not only Roberto De La Torre's dedication to his legacy in John Buscema's art, but also returns from great artists like Doug Braithwaite make Conan the Barbarian from Heroic Signatures and Titan Comics a necessary read for anyone who wants to get their hands on a quality comic.

After reading Luana Vecchio's sincere and honorable work in Lovesick, coming across a comic where an entity possesses people just for the author to show how wrong the practice of straight relationships is just to get the message across as someone who wants to be cool in the world for many in this culture, it is practically a waste of time.

Promising start, and Garth Ennis is not the type of writer to disappoint the reader, especially when he writes characters like the Punisher, although I have a certain fear that Marvel's editorial could turn the classic version of Nick Fury into a villain if they drastically change the concept of the character based on this retcon. But I hope that doesn't happen.

Hulk smashes cartoon monsters. Hulk protects teenage porcelain doll. And so it goes... And then we have the most pathetic tactic of a writer when he sees that his story is not convincing, which is to create retcons by messing with other writers' concepts, here in this case PKJ messes with Bill Mantlo's Crossroads, something that Peter David also tried was unsuccessful. This is the Hulk you read today, a lame Incredible Hulk where each issue is more boring than the other, but of course if you make an effort to like it, just to have someone to talk to and lavish praise on, you'll love it. But in the present reality, this run must be IGNORED!

I really liked it, it's very reminiscent of the films starring Maria Ford and several bad ass actresses in the nineties, and the hints of sadomasochism here were very well executed.

I'll be honest, this is not and will never be Ewing's answer to the Immortal Hulk, BUT at least this series is not something that reaches the level of absolute badness of Phillip Kennedy Johnson's Hulk. Obviously Ewing is putting an agenda here and there, but what caught the most attention about this series, since the issues were not by the regular artist, is that the change of artist did not compromise the art of the series, and that is a point positive, unlike the Hulk from PKJ where the drawings there are extremely shameful when Klein is not in the art. But the lack of explanation and Agger's abrupt reappearance after the tragic outcome he had in Immortal Hulk #33 is something I don't buy.

This is terribly bad! It's a shame, I thought this writer really had the goal of sequelizing Immortal Hulk, doing what Cates wasn't able to do. But it simply creates an absurdly forced context of Banner wandering around in a hippie characterization and the savage green Hulk trying to take control. The fight for control of man vs. monster is not seen here anymore since these monsters decided to hunt the Hulk for this Eldest who represents the Mother of Horrors. They tried everything, they even introduced Man-Thing, but even that didn't help, and then a Ghost Rider from the World War II, but that was also a failure. The moment that could be made up for with so much boredom that this run passes is the one in which Betty resurfaces, but in a mischaracterization of her personality, as they took advantage of the fact that she was upset with Banner/Hulk to be able to point the finger at Hulk, accuse him and convince him to hand himself over to the Eldest. The most impressive thing is that this run culminated in boring appearances by the Hulk in other characters' titles and guest artists who now remain in the run on more than one issue.

Another BAD arc concluded, the Hulk simply smashes monsters and ridiculous entities so that in the end his hatred harms other people, in this case he was unable to save the teenager, who is now a porcelain doll. Don't waste time giving your money to this run, invest in other books, quality books!

As always, Phillip Kennedy Johnson's Hulk is impoverishedly pathetic to the point of relying solely on the return of Nic Klein, who not even with double pages can make the narrative interesting. If you like seeing the Hulk serve as a ladder for other characters to climb, buy this issue and help Marvel cover the costs of each Klein return.

It was clear that the person who responsible for this initiative created a character who follows the same footsteps as Luke Cage. And if there is anything uncomfortable about this initiative, it is the woke side of the creator, always creating characters of color and doing exactly what Marvel and DC do, which is to bring generic stories. I couldn't get past five pages of ISOM. I don't expect much good from Yaira either, except Débora Caritá's art.

What a horrible and disrespectful thing, if Marvel wants to attract an LGBT audience, PLEASE PUT IT ON THE COVER OF THIS BOOK that it is for this audience, and not for anyone who wants to read a comic book. Horrible cover, it's practically a version of Black Cat who has now become a guy with big breasts. Terrible what Marvel is doing. Surprisingly the drawings aren't that bad.

It's certainly one of the sickest and most explicit comics I've ever read, the homage to Salò was masterful, as were Vecchio's inspirations for animation from the nineties.

Another excellent book from AIWA. They manage to make us understand the plot, since we are in a future where technology has advanced to an unimaginable point! Red Light is practically an update of the film A.I. but here it is even more brutal when the pimp wants his loved one back at all costs. If you've watched Risky Business and Taxi Driver, you know very well what these guys are capable of in order to get what's theirs! Recommended!

If anyone wants to read something by Sonja after her classic periods at Marvel, this run by Torunn Gronbekk is an excellent option. The vibe is reminiscent of Sonja's latest volumes at Marvel, and Geovani's art is the best here, it's very detailed and his team with Torunn has been yielding good stories. Another very good issue!

This run marks one of Sonja's best phases on Dynamite. The variant covers themselves pay homage to the good times when the character was published by Marvel, and Torunn Gronbekk rescued that essence. Walter Geovani's art reminds to Carlo Pagulayan's promising work on Planet Hulk. Forget about Sonja's new movie and ignore Gail Simone's entire run, because Torunn Gronbekk and Walter Geovani are calling on you, old-school reader of Marvel's good times, and even you, new reader who didn't live through that era, to show you why of comic books being something fundamental when they are done well.

The mix between The Exorcist and Alien is excellent, and some issues scared me, as the demon's psychological attack here is lethal! A great initiative by AWA!

Looking at The Devil's Cut it didn't seem like Somna would be that good, in fact The Devil's Cut fulfills its purpose, bringing small prologues to DSTRLY's initiatives, although it didn't work for me, as the material in its entirety was something totally rewarding. It is certainly one of the most phenomenal books currently, the covers are beautiful, and the content is so original that few artist wouldn't be able to repeat the feat, as Somna alternates between a normal comic and completely realistic drawings.

This one is absolutely stunning, the story starring Solomon is dark and manages to scare the reader. Simply killer!

The outcome is unpredictable, neither side is good, and it is clear that violence must speak for itself for civility to be possible.

I was worried about the plot due to how boring I found Dracula by Tynion IV. But here it seems that two writers knew how to guide a narrative by creating new concepts without the need to bore the reader. For now it is approved.