Adam Barnhardt Comic Reviews

Despite being published by the biggest independent publisher in the land, 7147AD #1 feels like an underground comic through and through.

While the event itself has been intriguing with its warring dynamics amongst the various groups, this issue pumps the break so that Tony Stark can lead his own psyche through a round of therapy about the very same topics we've seen him battle before. It's tiring to the point of exhaustiveness, and it adds littleif anythingto the overarching narrative of the event.

Like most other entries in this Marvel event, A.X.E.: Iron Fist #1 exists to help bolster a central title and make it bigger than it really is.

For the most part, it's hard to shake the feeling that Action Comics #1005 is nothing but filler for a larger story arc.

Bendis has been relying all too much on cliffhangers as of late, and it's but a matter of time before these leave-ya-hanging issues with zero sustenance will get tiring.

No matter which way you shake it, this outing could very well be Bendis' best book on Action Comics so far.

Dynamite premise. Beautiful artwork. Action Journalism is a bonafide hoot.

Nick Spencer is firing on all cylinders when it comes to Amazing Spider-Man, and this issue in particular is the perfect launch for a brand-new story arc.

While it seems like it's back to form for Spider-Man, it just feels like something is missing from this title.

With an event that's been building for quite some time, this first issue is certainly a step in the right direction.

The majority of this issue serves as the prelude to the latest book featuring Kraven on a massive hunt, and it's shaping up to be quite the event.

Two issues in and this mini-event has gone just as one would predict.

It's definitely hard to stay dry-eyed during this beautiful, poignant tale about being different from the norm.

Certainly a disappointing outing in an otherwise promising event.

Focusing on Lizard's love for his son, this is a classic father-and-son tale full of heart.

While this book is paced better than its predecessor, it's a bit muddied and tiring.

Cunning and mischievous are two words that can describe both the Vulture and this book.

On the final home stretch, the event seems to finally be getting some footing underneath itself.

The penultimate issue of "Hunted" is the arc's best book yet, setting up an explosive finale.

All in all, "Hunted" left a bit more to be desired but issue-by-issue, #22 is by and large the best"and most important"comic of the event.

While a massive cliffhanger at the end is in store, this issue was, by and large, business as usual.

Despite coming off a mini-event in which people were hunted, Nick Spencer and company take Spider-Man to a whole new low here, introducing an all-new villain that's bone-chilling, to say the least.

Something like this would get exhausting week after week but it's a great trip off the beaten path this Wednesday.

Daily Bugle isn't entirely necessary but at the very least, it's a solid-enough read to warrant a return to the second issue when it comes out next month.

Sure, there's the predictable cliffhanger of an ending but at the very least, it doesn't attract from the solid storytelling in the first twenty pages.

The way this issue is plotted, it reads as a filler at it fights to churn the wheels of a story forward.

Equal parts survival war story and explosive space-faring sci-fi tale, Annihilation Scourge: Alpha is an incredible nod to the Annihilation stories that came before it.

Out of the four one-shots they've done, this one might be the most inconsequential as it feels largely standalone with little connective tissue to the rest.

This book has its fair share of thrilling scenes"and it also has its fair share of hopelessness and sorrow. Luckily it's all balanced to equal a pretty well-rounded book.

Left picking up the pieces after Silver Surfer: Black, the wielder of the Power Cosmic has his first major standalone story since and right away, it delivers.

Antioch #1 is a formidable debut issue in a new comics world full of promise.

Antioch takes a step back here, slowing to a crawl as Kindlon and Ferrari weave a microscopic tale.

. In a world a bingable content, Aphrodite V might not be for those looking for high-flying action within every panel.

On the surface, it's an action-packed page-turner but as you dig deeper as the issue progresses, it's a political thriller that'll keep you trying to catch your breath.

Foxe's script is brisk and packed to the brim with Deadpoolian jokes, some of which land to great effect while others are rather groan-inducing.

In a world where space-filled adventures saturate the market week after week, Astro Hustle manages to stand out in the best of ways.

As the new chairman of the Avengers, T'Challa finds himself in the most peculiar of situations, and fans are left debating whether he'll be a character they can end up trusting. If that's not enough, the subplot featuring the return of Phil Coulson includes a blood-chilling turn that shows off a whole new side of that character we've never seen before.

It's all too predictable, which is a shame for an entire issue that takes place over the span of a single fight.

Equal parts thriller and spectacle, The Devil You Know #11 is the Hellboy Universe at its finest.

Though the issue ends with a totally gnarly semi-splash that's very applause-worthy, the rest of the comic is a bit too dry for the expected Hellboy fanfare.

There's no denying that BPRD: The Devil You Know is firing on all cylinders as it continues to inch closer to its end.

With just one issue left in this 15-year run, it's safe to say that it can't get much better than this.

This issue serves as the perfect cap to the Hellboy timeline by bringing back some characters lost deep in the mythos in addition to having the titular character go out in the best way imaginable.

It's angry, sad, and hopeful all rolled into a single issue, and at the end of the day, the sheer existence of this story is a win for anyone in the world comic books.

Set in a world of massive tales and interdimensional stories"see Colonel Weird: Cosmagog, as an example"Red Planet is a deeply personal read that makes the Black Hammer world better with each passing panel.

There's just enough of that "supe action" to keep things very interesting, though this is a rare occasion where one can do without it. I've said it before, and I'll say it again here"if you're not reading Barbalien, you're missing out on one of the best indie comics of the past year, there's no doubt about it.

Barbalien: Red Planet might have an alien from Mars as its lead character, but this story is much more human than most other comics you'll read today.

This tale has left me speechless plenty of times before, and I get that sense more than ever now. While the Black Hammer universe has already deconstructed the superhero world as we know it, Barbalien is a book that upsets the status quo, and this issue, in particular, is entirely the perfect example of that.

While the classic style of Adams' art is on full display here, the plot seems to pull me every which way without building any story arc up to its full potential.

It's all just a hodgepodge of dialogue with little direction or connective tissue.

This mini-series is only half over and it already feels like it's run its course two issues too long.

The dimension-hopping plots is far from a normal Batman tale and it's beginning to be evident why that's fairly uncommon.

Issue #5 is supposed to be this mini-series' penultimate issue and I still haven't the slightest idea of what's going on.

Plagued by delays over the better part of a year and some change, Batman vs. Ra's Al Ghul goes out with a whimper with the sixth issue this week.

Reading Batman Kings of Fear #4 is akin to finding yourself waking up in the middle of the night drenched in sweat after a terrifying fever dream.

Though the dialogue seems rather cut-and-dried, the premise of the mini-series is still intriguing enough to provide an alternate look at the Caped Crusader.

The plot behind this story was good in small bursts with six issues falling right in the sweet spot between ending too quick and dragging on too long.

A fun take on the trading-a-paper-clip-for-a-car viral events of yesteryear, Ridley's script is a powerful look at how one of Gotham's villain came to be.

With an incredible amount of heart in just a few short pages, I found myself relating with Detective Chimp more than I'd ever thought.

Some emotional character beats help keep things afloat for a bit but Biker Mice From Mars #1 is largely hollow.

This coming-of-age tale has just enough charm and heart to make it a tolerable, but nothing more.

While the dialogue seems a bit elementary at points, it's perfectly written for the two youngest protagonists in Mikey and Brennan.

While Williamson, Bressan, and Lucas are great, this issue serves as a lettering masterclass courtesy of Pat Brosseau.

Though this issue takes it down a notch, enough happens to keep you interested.

Though hard to follow at times, this genre-bending issue is firing as well as it ever has, which is saying something as it's been great of late.

Though it has its faults with some weaker character development with the vast supporting cast, Birthright might be stronger now than it has ever been.

Things finally come to a head in Birthright #40 in an incredibly powerful and epic issue. If you've been waiting for massive magical marvels, this issue has it all and finally, readers are taken to a spot they've been waiting for all series.

From the second you open the cover and flip the first page, Birthright #41 is in your face with a set of three two-page splashes that sets an epic tone for the second-to-last arc of the series.

This book has definitely had its highs and low and at this rate, it's looking like it just might stick the landing if the past few issues have been any indication.

Despite being set in the midst of a battle between worlds, Birthright #43 is slow on the action but thankfully, that's completely warranted this go-around.

The finale to this book is coming at a break-neck pace so you better buckle in"everything's getting super real, super fast.

Anxiety-inducing in its fullest, this title is setting up an epic conclusion"here's to actually sticking the landing when it so arrives.

Here, the events that unfold are a bit too drawn out as the action gets pushed to the backburner. Nonetheless, this final arc does appear to be wrapping up most of the outstanding questions in the series, so at least it has that going for it.

For this final arc, the Birthright team decided to change up the status quo"a move that's paying off as this new story is as fresh as ever, despite the title already nearing 50 issues.

Birthright #48 is in a unique position where it feels like the book moves by at a rapid pace, even though the plot hardly inches forward in the slightest.

With Birthright #49 here, the story is quick to wrap itself up, bypassing the slow-burn methods of issues in the past for a brisk story that rushes to the end.

The end of Birthright is here, and it's a fitting end for where the story has gone.

Sometimes event tie-ins work, and sometimes they don't. Believe it or not, giving Felicia Hardy the most powerful magics in the universe works"and it works damn good, at that.

This issue is exactly what it needs to be at this point in the arc and then some.

For a street-level character that oftentimes aligns herself with the slimiest characters in the entire Marvel stable, Black Cat: Infinity Score #1 is packed to the brim with heart and a certain warmth that's perfect for the holiday season.

Though it's not serialized storytelling in the form of a comic, The World of Black Hammer #1 is essential reading for all things Black Hammer.

Though Lemire's inspiration is felt throughout the book, Fawkes and Kindt take the Black Hammer universe to a whole new level.

Most certainly a period piece, this job does a fantastic job of tackling a war-time tale.

At times, the plot feels redundant as the same characters fight time and time again, but that's a war for you.

A fitting end for this Black Hammer mini-series, '45 makes sure to touch on it all.

The Eisner-winning pair of Jeff Lemire and Dean Ormston have crafted a suspenseful tale and with a few sub-plots intertwined with each larger story, there's enough going on to keep anyone entertained.

While everything eventually comes to a head, it's a little too late to make much sense at all.

With a little too much dialogue for my own tastes, I'm still not sold on this title five issues in.

This self-aware issue was only made better by the incredible Colonel Weird, and Rich Tommaso's simple, yet effective, art was a perfect pairing with the tale at hand.

With an incredible amount of promise and an unbelievable twist, it's hard not to smile and be thankful this book is back.

When you think it's going left, they go right and keep you guessing, something that leaves you begging for the next issue in line.

In a world full saturated with superhero comics, this team manages to continually innovate to story time and time again so that they don't blend in and fall by the wayside.

You can feel a massive shift is coming to the Black Hammer universe and after a few scaled-back, more calm issues, Age of Doom #11 is a pleasant breath of fresh air before the proverbial s**t hits the fan next month.

One moment leaves you grinning ear to ear while another makes you sob, this issue is the perfect example of why Black Hammer is an award-winning comic.

Black Hammer: Reborn #1 has nearly everything a fan of this world could ask for.

Lemire, Yarsky, and company are slowly pushing this title to a massive Black Hammer event. Because of the simmering plot that continues to heat up, the tension in Reborn #2 is especially palpable.

There's a certain mystery still lingering about Lucy and her past with Doctor Andromeda and that's starting to run just the slightest tired since there's been no real movement on it in two issues but as of now, it's a pretty big non-factor.

Between the script and Yarsky's exceptional lineart, Lucy Weber's desperation and heartbreak bleeds off the pages throughout this issue and it hurts"like really bad.

Malachi Ward and Matthew Sheean arrive to take over Reborn artist duties, and the new styles conveniently fit the changing tone of the book.

The Black Hammer story has always been best when Lemire balances complex storytelling over the span of multiple timelines. While that could introduce more confusion, especially when the plot itself involves the introduction of a multiverse, this script manages to balance it all exceptionally well.

The story that begins in Black Hammer: Reborn #7 is what happens when you let a creator like Jeff Lemire do absolutely anything his heart desires.

Seriously, this issue is a genre-bending thriller that takes you to plenty of points in the Black Hammer universe, giving you whiplash as each turn of the page.

Black Hammer: Reborn #9 is the biggest proof of the idea this series will always have your back.

The mysteries of the Black Hammer universe come to a head here, in heartbreaking fashion.

Black Hammer: Reborn #11 might be the most "Black Hammeriest" issue one of this world's books have ever been.

The most important plot thread is tied up, so kudos there; there's just a lot left dangling by the time you close the back cover it hurts there's a wait until Black Hammer: The End.

All in all, Black Hammer: The End #1 is a very promising beginning to this story's conclusion, it's just pulled in one too many directions to be the perfect launch.

The plot doesn't move forward all too much but with a script on display like this one, this is comics at its best.

Black Hammer's familiar meta tone takes center stage in The End #3, giving readers a plot that's buried under what seems to be 20 layers of Black Hammer storytelling.

Things just kind of exist here as the universe tries to decide what it wants to do with Anti-God.

After multiple issues of waiting for some development by Lucy Weber, readers finally get that movement here and the story is much, much better off because of it.

Black Hammer: The End excels on every level and would make for a delightful finale if the title wasn't set to soon return.

Compared to other Black Hammer, it's toned down and the pace moves at a crawl"that might be for the best here. The end result is an intense character study into the foul-mouthed hero that takes the form of a kid, even though she's actually an adult.

If you need a reason as to why this Black Hammer anthology series is necessary, Visions #2 proves exactly why it deserves a spot on your pull list.

Chip Zdarsky and company tell the typical "disgruntled old man" tale, injecting fresh ideas in it at just the right places.

At the very least, it's another interesting addition that fans of this particular superhero franchise will enjoy, but it's not a must-read for those looking to jumping into it all for the first time.

I don't want to say this one-shot is "peak Black Hammer," but it does include the typical benchmarks that always sets this indie superhero world apart from other cape books.

At the end of the day, you can probably take it or leave it, but like many others in this line of storytelling, you don't need any additional Black Hammer knowledge before hopping in.

Its purpose is to flesh out these characters and tell fun stories while doing so and on that front, Black Hammer: Visions #7 aces it.

As with other entries in this anthology, this book neither really adds or detracts from the primary Black Hammer storyline. It does, however, finally lay some groundwork for the Horseless Rider, giving a character we may or may not see again some time to shine.

By the end of the issue, I was left wanting more, mainly because it felt this issue was a couple of pages too short.

Though a bit toned down from the last issue, this title is still interesting as all get out"there's no denying that.

The issue does some interesting things to help deepen the world Lemire has built over the past couple of years but even then, the book still has a looming feeling of inconsequential storytelling.

At this point, it's hard not to think this issue could have taken place in half the issues instead of drawing it out a few extra issues.

More than anything this series ended as if it feels like part one of a two-part story.

This introductory issue provides a great launch, and it's exciting to think of where this creative team can take the story next.

Because that world-building takes center stage, the plot progresses to a crawl. Despite that, it does bounce around to a few different scenes, introducing new characters and ideas along the way.

All things told, this issue takes its time moving forward, enough so it makes you wonder if this vampire angle is sustainable.

Gorgeous lineart and colors propel this story forward, I just hope the wheels of scripting get to turning.

If you were hoping Blood-Stained Teeth scaled back and slowed things down you're out of luck. Ward, Reynolds, and Moore press the pedal to the metal with Blood-Stained Teeth #5 and don't let up at any point between this issue's two covers.

While the storytelling of issues past has been equally outstanding, Ward's script here crumbles in on itself as it jumps around time one too many times with its non-linear story. Still, it's one of the most gorgeous comic books you'll be able to pick up this week.

Blood Stained Teeth continues to weave an intricate vampiric tale.

While Reynolds and Moore's neon-soaked artworks continues to be a delight, the story is starting to grow tired as it fails to make any serious progress forward.

Luckily here, the issue both pushes the story forward significantly while also giving readers some lore-building that helps build out the main character's arc and role.

Blood Stained Teeth comes to its roaring conclusion, ending only as a story featuring a character like Atticus Sloane could.

Should the team manage to flesh out Jessie's introductory story arc in due time, they may have something special on their hands.

. From the opening sequence until the end of the book, my jaw remained dropped throughout the entire read.

Jeff Lemire and Doug Braithwaite's limited series comes to a roaring conclusion in Bloodshot Salvation #12.

Book of Shadows #1 is a solid set-up for an intriguing premise, giving Valiant their own shot at hosting a summer comic book event.

Cifuentes continues to put at some strong work on the art. Between he and Filardi, these horror characters are rendered just as well as they've ever been.

Featuring an ensemble cast, the story in this issue is spread awfully thin, almost to the point it breaks into nothingness.

Book of Shadows is a title that was simultaneously too short and too long.

While there's likely (hopefully?) more to the story, this introductory issue is about as flat as can be.

Like the title's first issue, Brynmore #2 is awfully light on spooks for being solicited as a horror story.

Three issues in and Brynmore finally delivers on the promise of the horror, introducing readers to a story dealing with both vampires and zombies.

Four issues in and Brynmore finally becomes the title it was hyped as, a horror tale perfect for the season.

Brynmore ends as abruptly as it started, light on plot, action, spooks, and much of anything at all.

One hell of a debut for a new indie superhero book.

The narrative throughout this entire book is nearly flawless, and the ending should be a welcome sight to comic fans from all walks of life.

Beaten and broken, there's nobody that writes a fractured Steve Roger better than Ta-Nehisi Coates.

"Captain of Nothing" continues with a pretty flat issue that fails to ever find its footing.

With just the right pace and storytelling, it's hard to go wrong with this run -- it hasn't let me down yet.

While the prison has grown slightly tiresome, at least there's a fair share of explosions, bangs, and action and keep you excited for a moment.

If Marvel Studios' Captain America: The Winter Soldier were a comic series, it'd be Coates' latest run with the character. A political thriller from cover to cover, this tension in this month's issue is palpable.

As I've said before, Steve Rogers is at his best when he's his own worst enemy and that might be more apparent than ever.

This whole Captain America goes Western is totally a vine I can get behind. There's a certain Frank Miller-Esau's storytelling that comes from Coates and luckily for this creative team, I happen to be a major fan of that.

Captain America #15 slows this run to a crawl and yet, it manages to be captivating.

A bit of a slow burner, this issue sets up some major points for future issues and when (or if) they pay off, they're bound to pay off in an epic fashion.

Straczynski's Captain America continues to put concept over character, for better or for worse.

Stephanie Phillips takes the reins on the First Avenger, and the end result is something with a little more fluff than need be.

Complete with monster hunting spies and more monsters than you can count, Capwolf & The Howling Commandos is much more thrilling than its predecessor.

By now, Capwolf & the Howling Commandos feels like it's largely just running in place.

The worldbuilding in just two short issues is incredible and Bergara's art matches the world they've built to a T.

Three issues of Coda in and I'm fairly confident to say that BOOM! Studios has a hit on their hands.

In this tale of going to great things to help those you care about, Coda #4 packs a tremendous amount of heart in just a few short pages pages

Although Simon Spurrier has scaled back the pacing for Coda #5, this issue is the first real deep dive we take into the relationship between Hum and his wife, something I've been begging for the entire series.

Spurrier's able to make the reader care a whole lot about a character such as Hum the Bard, somebody that says as few of words as possible.

Spurrier and Bergara have done it again " the entire series has built up to this one issue and the creative team delivers a picture-perfect issue.

With more twists and turns than an M. Night Shyamalan movies, Coda is difficult to follow at times, but there's never been a time where Spurrier and Bergara leave us hanging.

Si Spurrier continues to craft an interesting tale with the down-on-his-luck bard that should be tired by now but yet, it remains intriguing and fresh.

Though this issue was rather slow and smoldering in and of itself, it's pretty apparent worlds will collide next month in spectacular ways.

The end of Coda is here and it's just as delightful as you'd hope.

Conan the Barbarian: Exodus is as harrowing as it is beautiful. It's peak storytelling without uttering a single word and, I'll be damned, it's hard to put down.

If you're looking to laugh out loud, this book's the right one for you as it will have you rolling on the floor.

This title knows exactly what it needs to be and it executes it perfectly. While it continues to be void of substance, it's damn entertaining at the very least.

The second you try treating this title like a serious comic is when you'll start having a bad time.

One can't help but think this storyline is one big throwaway.

So, this title is still a thing... And surprisingly this month, it may be the best issue yet.

While the run has been rough at times, leading all the way up to this issue"for whatever reason, #6 was incredibly complex and more emotional.

Crave #1 is as sexy as it is tense, a coming-of-age story shrouded in a story made for an older generation.

If there's an award for horniest comic of the year, Crave's already a frontrunner as it starts to blur the line between art and pornography.

When Llovet allows the characters to speak and take action, Crave shows just how impactful it can be. It's a slippery slope for many of reasons but when this comic works, it works extremely well.

Crave #4 gives a little substance to the story at hand, putting its horniness on the back burner for now in exchange of story and character work.

There's something about Crave that feels like wasted potential. Despite showing glimpses of brilliancy, most of the story has felt hollow and empty.

Using Russian folk tales to help push the overall narrative forward, this book is wholly unique, and a grand introduction to a promising story.

Crimson Flower is moving full steam ahead, there's no denying that.

Crimson Flower has never been any gorier than it is now as #3 injects a splash of blood wherever it can.

For what it is, Crimson Flower is an action-packed mini-series that adds a fresh stance on today's popular pieces of action media.

In the penultimate issue, the art team of Mindy Lee and Michelle Madsen really let the work stand out, crafting some of the best art on the shelves this week.

An explosive finale, Crimson Lotus #5 has all the makings of a classic horror thriller. From fiery creatures to demonic children, this issue keeps engrossed throughout.

Mackie's plot does take a little bit too long to get going but once it starts lurching forward, the title is quickly off to the races with exciting action set pieces to boot.

Two issues in and this story is very much grounded, but that's perfectly all right this comic knows what it needs to be and it excels at that.

Danny Ketch: Ghost Rider #3 is where this story begins to crumble under the weight of its nostalgia.

Danny Ketch: Ghost Rider #4 ties things up nicely with a neat little bow, serving as the conclusion for a story that was 30 years in the making.

Faith is often pushed to the back burner in many Daredevil titles, something Saladin Ahmed was quick to rectify. Daredevil #12 puts the character's right smack dab in the middle of that coveted front right burner, and it's a delectable little treat for the Man Without Fear. Couple with Kuder's epic balance of demonic entitiessee his work on Ghost Rider, after alland this issue is about as well-rounded as a Daredevil comic can be.

The premise explored here is far from new, but Schultz's use of a few surprising characters is keeping the idea fresh. Coupled with Dowling's atmospheric line work, Woman Without Fear #1 is a seriously satisfying debut.

This Daredevil series begins to stall with its sophomore outing as the entire issue takes place within a single set piece.

While Herbert's layouts and lineart sync perfectly with Adams' pulp-style adventure, the Stewart story is a bit too small for its own good, especially when dealing with the idea of a multiverse head-on.

This Marvel Digital Original was surprisingly well-constructed, and Jed Mackay and Travel Foreman bring the heat.

The book features an ending that's all too cliche, but the stories told and lessons learned amongst the way make it a very solid read.

When a property like this fully realizes what it is and embraces it, that's when the results are best and Simone and company fully embraced this bizarre crossover and made one hell of an intriguing read.

Dead X-Men #1 is simultaneously a great hopping on point for someone looking to catch a final glimpse of this current X-Men era, while also being faithful to the past few years of mutant storytelling. It helps reinforce the idea of the X-Men being Marvel's most elaborate and extensive house of characters, hopping genres without missing a single beat along the way.

It's camp to the fullest, and that's something this issue wears proud.

Though the change in artists between timelines keeps things fresh, the wheels of this story churn in place taking readers on the same journeys as before.

If it wasn't clear by now, Dead X-Men is a series born out of the need to connect the dots of the wider "Fall of X" event, even if it does make for some awfully jarring moments.

Joe Kelly's nod to Deadpool & Wolverine is timely and entertaining, a worthy story in its own right.

If you're looking for blood-pumping, page-to-page adventure, Death or Glory #4 might be the perfect book for you.

Rick Remender always make sure to pack a strong narrative into his stories, but even then, this issue almost read like a generic Fast and the Furious-type comic book.

The story itself is still a bit too slow for my liking, but I can overlook that with all of the other positives in this month's issue.

It may have taken a while to get there but I'm totally digging where this book"and Remender's world"are going from here.

The timing and pacing is right, and the split between captioning/narration and dialogue is a silky smooth blend.

There's only one issue left and that's a damn shame because Death or Glory is finally firing on all cylinders.

This Remender and Bengal hit has been nothing but blood-pumping action for nearly a dozen issues and the finale lives up to expectations in every single way.

Accompanied by Riley Rossmo's beautiful, vibrant art, Joshua Williamson's Deathbed teaches us to get over self-doubt by putting one step in front of the other to finish what we start.

As the finale of a six-issue mini-series has now come and passed, Deathbed creators Joshua Williamson and Riley Rossmo should take pride in their ability to tell several splendid stories over the past six months.

While this issue in particular takes a while to lift off, Priest ends it on a note of promise moving into the next issue.

As with any storyline set in an insane asylum, you always run the risk of the end result appearing convoluted as the writer tries tie dozens of loose ends together. That's not necessarily what's happening here ,but two issues into this arc and I'm not quite sure they're executing the idea as well as they could have.

Several issues into the story arc, it's beginning to feel stale as the pace seemingly slows to a crawl.

For the first time in a few issues, Deathstroke #39 pumps the brakes a bit and allows the story tobreathe, giving extra time to the bits and pieces that need it.

Deathstroke's time in Arkham finally comes to a head, making Deathstroke #40 the most exciting book of the story arc.

Priest manages to go full-on Bond this issue, creating an intriguing premise that shows promise for the next story arc.

Practically a Deathstroke comic in name only, this issue sees the Teen Titans storyline carry over, for better or for worse. Slade continues finding himself imprisoned, and at this point in the run, it's plenty tiresome.

Backed to the brim with panel-leaping action, this issue leaves you with a massive twist that's both shocking and heartbreaking.

It's sharp and clean, character-driven and witty. It's the beginning of a mini-series that is already showing incredible promise.

Coupled with the line art from Javier Rodriguez, Defenders: Beyond #2 is one of the most gorgeous books you'll lay your hands on this week.

Defenders: Beyond #3 is unlike anything you'll read this week, and it's no contest.

Few artists have the ability to tell the story Ewing set out to tell and luckily for comic readers around the world, Marvel managed to land Javier Rodriguez for this. Rogriduez's work on this issue, in particular, shows just how perfect a match this whole team is.

While Javier Rodriguez' artwork continues to shine through to the end, the story as a whole goes out with a whimper, little more than an overly-meta take on a story.

While some might find the premise tiring, this creative team pulls the right moves to make it something exciting"incredibly exciting, at that.

Even at its darkest, there's still a sense of hope"and that's what's going to end up setting this tale apart from the rest.

Devil's Reign straddles closer and closer to a pseudo-Civil War event with each passing issue, but Zdarsky's scripts are fully aware of that with some meta references throughout.

Reading through Devil's Reign has been like watching master chess players duke it out. That's why it's infuriating the major turning moment here"the big reveal, if you will"happens solely by chance, and not by the calculating characters this title has built up.

The story itself continues to be fine, despite Kingpin's motivations changing with each issue. As it stands now, Fisk's motivations will surely be his downfall, and it feels like that's something we've seen one too many times before.

Zdarsky and company pack the Devil's Reign finale to the brim with the right bits it needs to end up as a suitable finale.

The comic's Omega issue sets out to answer many of the loose ends left over by the main storyline and does a pretty adequate job on the front. What's more obvious, however, is that this issue serves much more like a #0 issue than part of the previous tale.

For being an event tie-in, Devil's Reign: Spider-Man #1 packs one heck of a bunch.

Together, this creative team creates an epic new Doctor Strange debut that sets the character on an exciting new path across all dimensions.

Trying to predict the future aside, Doctor Strange #2 does a lot of the heavy lifting required to establish an elaborate story and it does an exceptional job of it at that.

It's good at what it is, but it comes at the expense of sacrificing a story that's debuted to an incredibly interesting start.

After this issue, this storyline is barreling forward full steam ahead, and it doesn't look like it plans on pulling any punches.

Even without the major twist at the end, this issue checks all of boxes of a killer Doctor Strange comic.

Jed MacKay turns out a script that's nothing short of brilliant, taking all that's good about the Sorcerer Supreme and amplifying it tenfold.

The water that is the War of the Seven Spheres is beginning to simmer once again, and if MacKay and Ferry can make it boil, Strange fans may have a serious hit on their hands.

It's a comic that does what it can to weave in and out of predictability, with jaw-droppingly complex art from Pasqual Ferry and Heather Moore to boot. This issue is one you don't want to miss.

Largely set at a single location, MacKay's script is a beautifully woven tale that puts a battle of the wits at center stage, a tussle elevated by the psychedelically beautiful artwork of Ferry and Moore.

In a title full of psychedelic art, Ferry and Moore pull out all the stops to make the art as multi-dimensional as possible. That said, there are some instances where some panels pull readers out of the story due to rushed line work and hurried shading.

Doctor Strange #12 is just the right one-shot coming of one of the Sorcerer Supreme's biggest story arcs in quite some time.

The end result is a certified Hoot, with the writer giving Marvel it's very own Jumanji by way of Dungeons & Dragons

Naturally, the pacing was a bit too fast given an entire arc was told between this issue and last month's, but the concept is such a hoot, it doesn't even matter.

A genre-crossing thriller, Dogs of London #1 simultaneously tells a classic noir tale while updating the narrative for current times.

For being billed as a supernatural crime thriller, Dogs of London #2 spends all too much time on anything but.

The book constantly bounces around between timelines and characters and the end result is a mishmash of storytelling that's clearly better off as an OGN or a binge-read, if only because the month-to-month release has created jarring cuts in an already jarring story.

Dogs of London seems to finally hit its stride in the title's fourth issue, bringing lot points together in a cohesive manner for the first time.

A delightfully brutal ending.

Hilarious, action-packed, and thoughtful " Domino #5 is just good enough to keep the Domino hype train rolling full steam ahead.

If you want to see Gail Simone at the top of her game, pick up this title.

Although a book like this would probably get tiring as an ongoing, this one-shot was more than enough to keep me laughing.

Earthdivers #8 finds itself a bit all over the place with sudden jumps between scenes providing readers with plenty of whiplash.

Earthdivers doesn't reinvent the wheel, nor does it do enough to set one of its own issues apart from the next.

It's not often you see a comic where the lettering is the best part of it all, but Steve Wands' work within Earthdivers #10 is substantially better than the story at hand.

The latest from Soule and Browne might be the wildest yet.

Interpersonal battles remain the crux of the story here, and those can often be the toughest stories to write. So far, so good here.

As you might expect, things get real weird, real fast. Almost so weird, a sense of doubt is instilled as to whether or not Soule and Browne can tell this massive of a story in just eight issues.

Eight Billion Genies #4 is no different as it's packed full with equal amounts of character development and world-building, coupled with Browne's genre-bending artwork.

A major tease at the end teases big things coming but so far, Eight Billion Genies #5 might be the most solid issue of the bunch.

Eight Billion Genies barrels forward here with another action-packed issue.

Though there's one more issue left, this issue feels like the definitive conclusion given virtually all character arcs are wrapped up by the time the back cover closes.

Though this series was inconsistent throughout its run, Soule and Browned pulled out all the stops exactly when they needed to.

Travel Foreman and Hi-Fi team up to create art that's out of this world, and it'll have you marveling over it the entire time this issue is in your hands.

The world Steve Orlando continues to craft in Electric Warriors is astonishing.

The pacing of this issue never quite clicks, and it seems to jump around too frequently, creating jarring transitions from scene to scene.

Four issues in and the creative team hasn't even scratched the surface of what's possible with these characters.

Orlando and company lay out massive world in this series, but it has yet to really execute on that premise, and there's only one issue left.

A fitting end for the miniseries, Electric Warriors ends on its highest point.

Perhaps in due a worthy tale will be told but as of now, only a slight glimmer of hope shines through an otherwise murky story.

The plot threads here make sense and over all, it pushes the whole spin-off forward. That said, it's still a far cry from being an essential part of the overall story of Empyre but after the improvement from issue #1 to #2, I'm anxious to see where this book goes next.

Despite rock-solid Captain America writing from Phillip Kennedy Johnson, it's still hard to shake the feeling the stakes or story from this Empyre doesn't really matter, either as a whole or to the larger Marvel event currently going on.

It's an intriguing new start for readers new and old, alike and, at the very least, it's evident this creative team is setting out to establish a definitive take for one of Marvel's biggest unproven ideas.

Eternals is a slow burn, but it's becoming more worth it with each passing page.

The Eternals have always dabbled in political intrigue, dipping their toes into the whole Game of Thrones or House of Cards of it all. Gillen increases that tenfold with this run, and it's a plot thread more evident than ever in this third issue here.

It's not quite there yet as there's plenty of story to go, but this Eternals run has all of the markers it needs to be something really special.

Just when you think you know where everything's going, Gillen and company flip the script on you and subvert any expectations you may have.

Luckily for this creative team, they ended the arc on arguably the highest note of the series yet, with good signs pointing to the second arc next month.

After a brief hiatus and venture into some world-building one-shots, the main Eternals story has returned... and boy howdy, it's a doozy.

There are no large action set-pieces, yet Ribic's pages still manage to draw you in and hold your attention. But that's just it"this issue neither sets up the book's demise nor makes it an award contender. Eternals #8 just is.

While the vast majority of this issue falls in line with the rest of the series, with Gillen's dynamite scripting and lineart from Ribic and Guiu Vilanova, a reveal towards the end cheapens the story at hand a little bit.

At some points, this run as been a bit difficult to get through and Eternals #10 isn't an exception. This comic is overhauling a certain part of an expansive world and there's no way around it.

Guiu Vilanova's work here is welcome, close enough to that of Esad Ribic's that there's not too much of a departure of previous issues, yet new enough that there's a certain sense of freshness injected into the series as it winds down.

It all led to this, and Eternals #12 delivers in full.

Here, it's more apparent than ever those in publishing are transforming the comic characters to look and act like those on the film studio side of things.

With all that taken into consideration, this issue is still a necessity in the grand scheme of things, because it shows just how dangerous of a villain Thanos is. Not only that, Gillen and collaborators flesh out this corner of the Marvel universe tenfold, and as a result, have created a must-read issue for those keeping pace with the primary story.

In the grand scheme of things, a comic like The Heretic fits in perfectly with what Gillen and Esad Ribic have built with the main title, but not so much on its own.

This book had it all " action, heartbreak, lessons learned, and jaw-dropping twists and frankly, it's quite the high note for the House of Ideas to end their year on.

One hell of a debut from Oni Press.

A colorless comic can only work under the exactly right instance, and Lesniewski continues to nail it.

Faceless and the Family refuses to be put into any one box, and more comic creators should fall in line with this concept.

Falling in Love on the Way to Hell #3 is a bit of a slow burn, providing readers needed insight into the title's leading duo.

Made up of two stories, the Fantastic Four Wedding Special included everything I wanted and then some.

The potential is there for Antithesis to redeem itself, sure"it's just got a long way to go.

Some may love it for its nostalgic value but in an age where there's dozens of superhero stories to pick from any given week, Antithesis is largely forgettable and entirely passable.

The Waid + Adams combo here makes it look like this book was ripped straight out of the Silver Age of comics, tone and all. While nostalgia can carry you pretty far, this story still isn't hitting the right notes.

Antithesis comes to a close here and surprisingly enough, it might be the mini-series' best issue yet.

With an oversized page count, the pacing of Firefly 'Verses #1 matches that of a snail with a bout of the flu.

Though an over-sized issue, it's light on character and carries a painfully slow plot that churns little from front cover to back.

Though the comic very-much has a movie tie-in vibe, it's still leaps and bounds better than it should be.

Porter allows Barry Allen to find himself throughout this slightly oversized issue. That means that even though another new villain was introduced, the character moments were delicious little treats making for a well-rounded and, dare I say, excellent comic book.

While I didn't find much of substance within the pages of Future Quest Presents #12, I remained intrigued throughout mainly because of nostalgia.

Weisman and company stay true to the property's roots, and that should prove beneficial in the long run.

Because of the various different plots, the script does get quite jarring at times, yanking readers back and forth as the writer tries to jam as much as possible into one issue.

Already three issues in and the first arc of this new Gargoyles comic seemingly reaches its conclusion in unspectacular fashion as characters literally drop what they're doing mid-fight and go home as all if well.

Now a third of the year into this run, Gargoyles has no focus. Given the first arc seemingly wrapped with the last issue, Gargoyles #4 is a mismatch of sizable proportions with a script that goes nowhere, nor does it know what it wants to be.

It's only taken the better part of six months to get this comic on the tracks, but Weisman and Kambadais really start cooking with Gargoyles #5.

Though the story moves forward in Gargoyles #6, it does so in a haphazard fashion.

With the return of another Gargoyles favorite and some of the world-building that made the animated shit a cult classic in the first place, Gargoyles #7 is a breath of fresh air for this comic series.

While Gargoyles #8 doesn't do much to advance the plot, both Goliath and Coldfire get a substantial amount of character work.

Gargoyles #9 is an issue that'd make Matt Murdock blush. Not only does Greg Weisman write a trial (or hearing) accurately, he manages to keep this low-octane issue.

Unless it's on a Netflix docuseries or the trial of the century, there's rarely anything exciting about a standard court hearing. However, Greg Weisman not only made one exciting, but downright enthralling at points over the past few issues of Gargoyles.

The plot progresses, but it does so in such a jarring manner, this issue is a tough one to get through.

Weisman's script pushes together every lingering plot thread possible to wrap things up far too quickly.

The first Gargoyles comic spin-off has arrived, and it's apparent from the leap it's a most welcome addition to the wider canon.

Though Drew Moss' lineart continues to do wonders for this animated-based property, which brings across the tone of the show it's based on exceptionally well, a lukewarm script does no favors at it drags readers in far too many directions with bizarre pacing and questionable paneling.

Unfortunately for the title, the result is a rough comic that appears to not know what it wants.

It's an issue that can only be written by one Greg Weisman, and he definitively excels here

The dialogue is elementary, and things move at far too brisk of a pace to allow for readers any sort of comfort.

As has been the case as with the rest of the Dark Ages story, this finale is rushed and clunky.

Brisson and Kuder team up to pack a hellish punch in a debut issue many will likely see as a return to form for these ol' hotheads.

Just when you think it can't get more bizarre, it does and dammit, it has all of the fixings for a killer Ghost Rider tale.

Things are pushing forward full steam ahead and before too long, there's bound to be an epic showdown"we've just got to wait.

This issue, the last of the run's initial arc is exactly as brutal as you'd expect a Ghost Rider story to be. Exceptionally grim, this book is peak Marvel horror with goosebump-inducing thrills throughout.

The Spirit of Corruption is a killer concept (no pun intended) but so far, we've yet to see just where it's going to take the character and as if yet, it hasn't taken him very far at all.

The cameos from Marvel's edgier characters"you know, like Punisher and Wolverine"still feel really hollow; instead of diving into Danny Ketch's massive transformation, it feels the character is using the aforementioned A-list names as a crutch to hobble along.

As a book, everything's incredibly well paced and it's got everything you would want from a Ghost Rider comic"motorcycles, fire, Mephisto, and a whole ton of demons. Though the plot resolves itself successfully enough, it's a bit messy in how it gets there.

With a creepy setting, Benjamin Percy writes a dynamite tribute to spooky season and it's darker setting combined with Danny Kim's lineart the errs of the side of camp, Ghost Rider Annual #1 is a good tome for the season.

Smith's lineart is ideal for a story such as this, and when combined with moody colors from Bryan Velenza, a dark and gritty issue of Ghost Rider is delivered.

If I had just two words to summarize Ghost Rider #2, there's no doubt they'd be "Hot damn!"

Ghost Rider #3 is dark and disturbing, and there's really no way around that.

Ghost Rider continues to chug along with a surprisingly action-packed issue despite a script that's paced to a crawl.

While that tone still remains, Ghost Rider is finding its footing as a series, making it into a formidable run from the House of Ideas.

Despite this run from Percy, Smith, Peeples, and company already having been plenty graphic, Ghost Rider #6 takes it up a notch as it dives into monster horror with a few jaw-droppingly gruesome scenes.

As metal as this book as been through six issues, Ghost Rider #7 might be its grimiest yet, introducing one of the wildest villains the Spirit of Vengeance has ever seen.

Ghost Rider slows to a crawl this issue, one that largely goes out of its way to make itself a shallow springboard into the next issue rather than adding some meat to its own bones.

This issue, in particular, is one of the most thorough of that arc, explaining much of the mythos and lore this creative team has introduced in a little reimagining of the Spirit of Vengeance.

Every loose end comes together and it comes together quickly without so much as a second to breathe, all leading to one of the biggest Ghost Rider reveals in recent memory.

It's a masterclass in character development, even though plot takes a backseat and to add the cherry on top, David Wachter's artwork as a fill-in guest on this issue matches the tone of the title totally, making for a well-rounded issue.

A full year into this latest series and it's still firing on all cylinders, giving readers one hellishly good time.

If you've yet to get on the Ghost Rider train, you better get your ticket as soon as you can because thinks are about to get real crazy.

Though the story isn't as physically dark as this has been in the past, it's a psychological thriller that leaves you uncomfortable as it moves along.

Ghost Rider from Percy and Smith has been solid through and through; so much so, many would probably consider it one of the best stories featuring Ghost Rider told in years.

The Ghost Rider/Wolverine team-up is exactly what comics needs and this creative team executes it exceptionally well.

While the eponymous character is thrown to the backburner this issue, giving readers plenty of exposition on one of Marvel's new favorites is a welcome (and needed) change of pace.

There's a sense of mystery coursing through this issue, though it feels unneeded and unnecessary given we already know much of what the story is forcing itself to hide from us.

hings get real weird, real fast in Ghost Rider #20 and quite frankly, it might be one of the most demented things we've seen in comics in a long time and that's a good thing.

At the very least, Percy and Smith can applaud themselves on a job well done on introducing Talia Warroad, one of the best, most complex new characters introduced to the Marvel stable of heroes in recent memory.

As with the main line, Vengeance Forever is dark and deeply personal, and even though it carries a T+ rating, a lot of the content within borders on the mature side.

With flames and snikts aplenty, the debut of Ghost Rider/Wolverine: Weapons of Vengeance is exactly what it needs to be.

Weapons of Vengeance is a Marvel event done right. No world-ending plot is needed, just a demonic invasion that is at as small of a scale as that can be.

Ziglar gets the voice of Miles arguably more than anyone in comics today, and Coello's kinetic linework provides for some tasty action pieces.

Suffice to say, this special release is the perfect tribute to both Len Wein and Dave Cockrum, two iconic creators no longer with us.

With undertones of M. Night Shyamalan's Signs, the all-star duo of Jeff Lemire and Andrea Sorrentino have a thrilling tale on their hands.

In Gideon Falls, it seems for every question answered, two or three new questions arise and therein lies the beautiful story Lemire and Andrea Sorrentino have been able to weave through nearly half a dozen issues.

Gideon Falls continues to be nothing short of a breath-taking thriller and when you think it's about to go left, Jeff Lemire and Andrea Sorrentino go right.

Just when you think you have it all figured out, Jeff Lemire throws a wrench in the forks and upsets the status quo. That's how it's been nearly every issue in this young run so far, and Gideon Falls #7 is no different.

Although past issues have fallen flat, Gideon Falls #8 is a page-turning thriller that you won't be able to put down.

Without Lemire's thrilling writing, Sorrention's artwork continues to be picture-perfect for a horror title " you could practically read this issue without any of the lettering and still feel a palpable tension exude through.

Slowly but surely everything fits together all nice and snug, and now, this book is off running like a well-oiled machine.

Gideon Falls continues to be one of the most perplexing, head-scratching titles on the shelf today.

While you'll likely get lost jumping in around this point, there's no denying that Gideon Falls is a must-read comic as it enters another year in print.

When this title hits, it hits hard. What started out as a thriller is now straight-up horror with a sprinkle of this peculiar mix of supernatural and science fiction, resulting in a genre-bending tale that's absolutely incredible to take in.

With the usual twists and turns that come with this title, nothing particularly stands out this month, but thankfully it's apparent something massive is coming to Gideon Falls... Eventually...

At long last, the storylines of Gideon Falls finally begin to converge and it's as mind-boggling"or downright confusing"as you'd expect.

Just when you think things are figured out, the status quo is shaken and the world of Gideon Falls turns on its head.

This title is a master class in creating tremendous tension but at what point does will that tension lose its impact? Its strong hold is starting to wane, that's for sure.

All in all, Gideon Falls has never moved more quickly ahead and this month's book is one of the strongest yet.

The story of the Black Barn is even more mysterious than it's ever been and as this particular arc inches towards a close, it's clear big things are in play.

This series continues to be a psychedelic thrill ride month in and month out.

This is most certainly another storytelling feat for Lemire and Sorrentino.

With Gideon Falls #22, this title turns from western horror to full-on sci-fi thriller and that's probably the least bonkers thing about this book.

By itself, Gideon Falls #23 is a solid-enough read but if you can learn one thing from this book, it's that it's just another piece of a thousand-piece puzzle.

There's no denying this series is coming to its screeching conclusion and that end, it all kicks off here.

With such a strong streak for the better part of its run, this issue might be the first misfire of the title and one can only hope things are ironed out with the finale.

Gideon Falls #27 is a nearly perfect finale to the story that's been introduced and examined for the past three years. While it seems partially empty, it ends exactly as it should"surrounded in a shroud of mystery, leaving you wanting just a little bit more.

Right out of the gates, Gilt Frame is a certified hoot.

While some things may be tired, Abnett's scripting gives it all a fresh coat of paint that injects life into Marvel Cosmic with every passing page.

Abnett's care for Marvel cosmic shines through in Groot #2, where another Centaurian character is introduced, one that may or may not have something to do with the bloodline of Yondu. Regardless, this series continues to be peak cosmic goodness, there's no doubt about it.

Groot #3 cements Abnett's status as one of the best writers to tell stories featuring characters from Marvel's cosmic stable.

Though this finale is a bit rushed to get everything in in time, it's still comic book goodness to the max.

With four different stories and four different art teams, all the work is top-notch"even more so with Filipe Andrade and Mike Spicer's art on "You're Only Young Once."

While we're still a long ways from comparing Guardians of the Galaxy to the cosmic likes of Annihilation or War of Kings, it's safe to say the company has a hit on its hands with this one.