Christian Hoffer Comic Reviews

I love the slow burn of Action Comics, and the Bendis run has felt like one continuous storyline so far, with this comic marking the beginning of Act II. It makes the coming threats feel much more important, and I love idea of Superman getting involved in spywork in a way that we haven't seen in years.

I'm strangely excited by this comic, although there remains a lot of questions about this particular mystery.

It's always fun to dip into DC's weird Judeo-Christian centric cosmology, with Martian Manhunter feverishly explaining that hell exists within the psychic consciousness of mankind, and honestly the comic gave me a fun retro vibe of those edgy occult-driven comics that weren't quite so fringe to be placed in Vertigo but clearly had those vibes.

While Sebela crafts a compelling story for the Hitman franchise's historically boring protagonist, he's largely let down by Ariel Medel's artwork, which is bland even in action scenes.

I appreciate that this comic is trying to bring some nuance into a video game franchise that's always been more about emotionless murder fantasies, but it's still hard for me to care about either 47 or Diana.

The art is stiff, the plot and dialogue are bad, and this is probably one of the worst chapters we've seen in the Aliens franchise.

All Against All is an interesting new sci-fi series set in Earth's distant future.

The comic feels very raw and primal despite its sci-fi theme, helped along by the unique art of Caspar Wijngaard. It makes for an interesting contrast, one that hasn't fully succeeded through two issues but still has plenty of promise.

I'm continuing to enjoy this comic, and this is probably its strongest issue yet.

This is a fun comic and Llovet's explanation about how the comic would have continued makes for an interesting "what if."

All in all, this is another Amazing Spider-Man issue that should make fans happy.

This is probably the most no-frills issue of Amazing Spider-Man written by Spencer. There's no new revelations or status quo changes, just a focus on one of Spider-Man's oldest relationships that's totally different, but somehow still the same.

Amazing Spider-Man #12 serves as a nice rundown of the history between Spider-Man and J Jonah Jameson....and also as a good reminder as to why their current understanding is a bit hard to fathom.

Hopefully, this arc gets some addition payoff soon.

Honestly, Renew Your Vows is the best Spider-Book on the stands today; it captures everything that makes Spider-Man great while continuing to push the character forward.

Houser and Stockman's work together cements Renew Your Vows as the strongest of the Spider-Man books published by Marvel right now.

Amazing Spider-Man: Renew Your Vows wraps up its latest arc by showing that not every superhuman arc needs to be solved with violence.

This is a fun Spider-Man comic, one where the worst misery Spider-Man will experience is an awkward social encounter. Sometimes, it's nice to see Spider-Man not suffer relentlessly.

Although I'm generally not a fan of Spider-Man clone stories (especially since we have a Spider-Man book dedicated to all of his clones), I do like that Jody Houser is trying something different with this story and its main antagonist.

A disappointing issue, but this comic's generated enough goodwill to see what happens next.

Scott Koblish's art remains uneven, but Jody Houser's family moments make this comic a must-read for any Spider-Man fan.

American Carnage is a strong start to a story that feels very important, especially in today's world. It feels authentic and comes at a time where we need a hard look at how these movements start.

It's a stirring and chilling comic, one that continues where it's first strong issue left off.

After two strong issues, American Carnage #3 is just OK; it loses track of its message and becomes another predictable crime story. Here's to hoping it can quickly right the ship next issue.

This is really great stuff, a nuanced look at a terrible topic that doubles as a captivating and compelling crime story.

American Carnage brings in another layer to what's already a complicated series about race and crime.

American Carnage continues a compelling and uncomfortable story, one of the best crime series on stands today.

This is a fantastic and nuanced series, one that combines gritty criminal drama with a hard look at the worst parts of society.

The Bryan Hill and Leandro Hernandez series has done a fantastic job of tackling modern racism in the United States, reminding readers of the uncomfortable reality that white supremacists aren't just one-dimensional monsters.

American Carnage was a fantastic and poignant read, even if the ending will leave readers feeling down.

This isn't a bad comic per se, just one that lacks relevance and only exists to exist.

This is a fun comic, even if you're not familiar with the franchise, and really provides a strong showcase for Arkham Horror.

A great debut issue that sometimes gets too caught up in using violence and mental illness for laughs.

Art Brut remains very weird and colorful, although its depiction of mental illness remains distressing.

Martin Morazzo's art continues to be fantastic, and I really think that this is establishing him as one of the premiere "creepy" artists today. Dude has a talent for drawing unsettling faces.

The art in Art Brut is great, but artwork alone can't save this book from rising above mediocrity.

This is a perfectly acceptable adaptation - the pacing and artwork are both a step above usual video game tie-ins -- but fans of the series might want to wait a bit to see if it continues to tread the same ground as the game or if it actually expands on Aya's story further.

I guess if you enjoyed Aya's character and felt that she didn't get enough time to shine in the game, you'll enjoy the comic.

I loved Ron Garney and Matt Milla's liberal use of Kirby dots, which gave the fights an extra-normal quality you don't usually see in an X-Men book.

Astro City: That Was Then... Special is a clear indicator that Busiek and Anderson haven't lost a step since the last trip into their brightly colored world of superheroes.

The story is bland, the art is mediocre, and there's a lack of originality and wonder in the aesthetics of Pandora that was present in the movie. I am not sure why this comic exists.

Honestly, this is a pretty standard and forgettable plot with mediocre artwork, but at least the team is trying to grow out the flimsy mythology and lore of Avatar ahead of the new movie.

This is not a good comic.

The Avatar comic is as mediocre as the Avatar movie, only without Cameron's impressive CGI budget and effects to back it up.

This comic is basically an advertisement for why an expanded Avatar franchise is still a big risk as it gives no indication that the stories are anything more than an excuse to show off new CGI effects.

Tsu Tey's Path is a reminder of all the problematic elements of Avatar: its stereotypical depiction of aboriginal people, its rather bland characters, and its unimaginative storyline.

If you haven't watched the movie in a while and want a refresher on parts of the second act, this is a good comic to go to. Otherwise, don't bother reading, as this issue is as stiff and lifeless as previous issues.

This is a cringeworthy comic, and it serves as a reminder of how mediocre the original Avatar movie was.

This is a bad comic on every conceivable level and provides a prime exhibit why the Avatar franchise should stay dormant for good.

The creative team of Mark Waid, Jim Zub, Al Ewing, and Pepe Larraz should be commended for creating a storyline that has all the trappings of an old-school Avengers storyline but with a modern day lineup and tone.

Aaron's Avengers run was forgettable while it was still ongoing and this finale doesn't do much to increase its stock.

To be honest, I think enjoyment of this comic comes down to whether you like "What If" style tales that mash together two different kinds of heroes. Every feature in Avengers Forever #1 save for Reyes and the Deathlok accompanying him takes two or more familiar Marvel concepts and jams them together.

This is a grim, joyless comic " not really my style, but I'm sure some folks will enjoy this.

I'm not sure that I'm really into the strange vibe this comic gives off, but it will certainly appeal to some.

This is old-school superheroics, although the narration style and shift in focus from Ghost Rider to the Goddesses make things feel a bit detached. It's all in good fun and this seems to be a series that's more focused on throwing wild ideas out than taking itself too seriously.

I feel like this is a little underwhelming of a "multiversal big bad" concept, but I feel like Avengers Forever in general works better if you don't think about things beyond face value.

This is a perfectly fine issue that continues the themes of previous chapters.

Avengers Forever #7 is really not my jam.

While Avengers Forever has been more miss than hit, this issue was surprisingly strong. I think it speaks to how well Aaron knows Thor that he finds a way of forging a new story and path for the character.

This comic would be enjoyable as a one-shot if not for the fact that we read a variation of this story multiple times over the past few months. This feels a bit excessive and gratuitous.

The creative team is obviously going for some poignancy here, but honestly it's handled about as well as a lot of stories that concern Stark's alcoholism, which is to say that it's not handled well at all.

This series has been a good focus on Robbie Reyes and what separates him from other Ghost Riders, but the series just has not lived up to its epic billing.

This issue will appeal to older fans of the Avengers, but the comic spends a bit too much time losing itself in its past instead of trying to tell a compelling story.

I think this comic has promise (and has a creative team that's certainly capable of telling a good superhero story), but this issue isn't a strong opening chapter for what's supposed to be a marquee limited series.

Unfortunately, the whole thing is a bit too trite and predictable. So far, this comic doesn't feel like anything more than another Avengers in the future story. I feel like the pieces are here to make it a lot bigger and better, but Avengers: Twilight just isn't there yet.

This is the first great issue of Avengers: Twilight the previous two were good, but this is clearly a step above.

There's plenty of meat left on the bone to be explored here, but I'm not sure this comic can deliver both a strong message and stick to the standard superhero beats. Still, Zdarsky and Acuna can certainly subvert expectations, so there's still room to impress in this series.

I think this comic is ultimately going to come down to how well the creative team can stick the landing, but it's been an enjoyable ride.

This was still ultimately a fun Avengers story, one that could have had a bit more weight (and likely would have with a few more issues), but still captured the spirit of the Avengers nicely.

If you enjoy European-style comics or high concept sci-fi, you'll probably like this new Barbarella series.

Barbaric: Axe to Grind continues the grim and gritty fantasy-themed adventure by Michael Moreci and Nathan Gooden.

This comic could probably use a little bit more breathing room to really tell a story, but it's at least been pretty an entertaining and interesting ride so far.

Axe to Grind ends with an appropriately bloody finale, with a blood feud turned into a cosmic power struggle.

Written by Becky Cloonan and Michael W. Conrad, with art by Jorge Corona, the new comic quickly establishes a new status quo spun from of the "Fear State" crossover event, but struggles to provide a central story hook separate from the event.

Batgirls #2 is about as a frantic as its debut issue.

I really want to like this comic, but I feel like it's still missing a crucial step somewhere.

While the many other threats and potential plot threads continue to circle around the heroes, I appreciated that the comic actually picked a plot and "resolved" it, which provided some much needed focus to what's been a very disorganized comic so far.

Coupled with the frantic narration and pace of the comic, the result is a comic that's has good vibes but a frustrating reading experience.

I do feel that Jorge Corona's unique art suffers a bit at times here. Batgirls has always benefitted from his art's frantic energy, but the comic's pacing picks up a notch this issue and the paneling and art struggles to keep up with the story its trying to convey.

What I appreciate about this issue is that the comic actually took time to breathe a bit, which gave the comic's creative team some room to provide some setup, context, and characterization that was missing in previous issues.

A very fun and solid issue of the series that wraps up a few more plot threads from the initial frantic debut of the series.

The best issue yet and I'm excited to see the comic tackle a new arc.

The series may have taken a little longer than people had hoped, but it's still become one of the most consistently excellent books in DC's catalog.

While I've enjoyed Googe's rather unique take on the Batgirls, this issue is just amateurish at best. Just really disappointing all around and makes the comic almost unreadable.

Batgirls ends the way it began, with more vibes than a tight story.

Batgirls #13 is one of the series' strongest issues yet.

This is a great issue that uses Jonathan Case's artwork to tell a great story, with Cass (who is usually the butt-kicker of the Batgirls) trying to use her detective skills instead. Case uses a more stylized and energetic aesthetic, with Cass's eyes doing most of the emoting on a backdrop of a detail-light costume.

Googe has worked on several other issues of Batgirls, but this issue feels more frantic and almost rushed and somewhat undercuts the seriousness of the issue's contents.

All in all, this is a fun story that focuses more on character than plot and works well as a result.

A very solid issue from one of the best Bat-books on stands today.

There are times where the art really shines but there are pages (such as the last page) where it just comes off as flat and rushed. All in all, an okay issue.

Honestly, this is the kind of Batgirls series that fans have wanted for a while and I think it delivered in spades.

All in all, a fun issue that nicely sets up a second year of the series.

The most intriguing part of the comic is the presence of Harley Quinn (who is trying to restore Poison Ivy's psyche) and Jace Fox, the soon-to-be Batman replacing Bruce Wayne. Generally speaking, this comic mostly feels like it's playing the same tune as last year's "Joker Wars," but with a different instrument.

This is a decently fun issue, with Robin, Jimmy, and Batman all getting moments to shine, but the strong character moments were somewhat overshadowed by the goofiness that comes with 5th dimension stories... which is not something I generally enjoy, even with such a strong creative team. On the plus side, Dan Mora's art is amazing as always.

Batman/Teenage Mutant Ninja Turtles II #4 injects a mixture of melodrama and poor decision-making into an already Venom-boosted storyline.

Batman/Teenage Mutant Ninja Turtles II #5 is basically a comic book version of those epic crossovers you had with your action figures when you were a kid. The plots don't always make sense, but it's really cool to see all of your favorite characters interact and fight each other.

While I thought Batman/Teenage Mutant Ninja Turtles II's plot was convoluted at times and had inconsistent art, it did deliver a fluffy and fun adventure on par with their first crossover.

This is a great jumping in point for the series and sets up a big return that should make every Batman fan happy.

Sadly, this issue is a letdown and serves mostly as a harbinger that Batman Beyond is about to go where plenty of previous Batman/Joker stories have gone before.

The story is very grim and serious and not very new reader friendly, but it should keep Batman Beyond fans entertained.

Honestly, this is probably the most interesting way DC has used the Batman Beyond franchise in quite some time.

Terry continues to rebuild as Gotham quickly shifts and changes around him.

This was a great issue and opens up a new Batman story a low-tech Batman operating in a high-tech world.

This was a great issue of Batman Beyond, with Terry finally starting to pull himself out of the pit that Gotham has both figuratively and literally thrown him in over the past few issues.

Batman Beyond ends with a resounding victory and the establishment of a new status quo.

As always, the highlight of the comic is Christian Ward's art, who brings a very vibrant take to a horror genre usually defined by grays and greens.

I enjoyed Christian Ward's take on a cosmic horror-tinted Batman, although I felt that the series struggled at times with explaining how the Gotham Below fit within the general themes of cosmic horror.

Batman: Dark Age is a fun comic that tinkers with Batman's origin story, but doesn't break it.

Honestly, this comic just was a dud for me it cheapened a horrific war and America's role in it to make a weirdly unaffected and so far mediocre version of Batman.

This has become a very weird but interesting series, and I'm curious to see how it plays out as it moves into the second half of its story.

I do think it's interesting that Pariah (a key part of the comic's tie to Russell's previous "Age" series) hasn't been a factor so far, although a last page confrontation with Ra's al Ghul could majorly upend Batman's world as he knows it.

On its own, the comic is an enjoyable pulpy read, but this new miniseries is a bit of a stepdown from the heralded original Gotham by Gaslight and its equally enjoyable sequel.

I'll admit that this is a fascinating issue, one that touches on some of the eldritch and pulp leanings of the "Gotham by Gaslight" world, but also suggests that things are more complex than meets the eye.

Perhaps the best compliment that I can give is that this comic doesn't feel like a Batman comic but rather a classic pulp story that still has plenty of mystery left to unravel.

Snyder and Capullo really do bring out the best in one another when they work together, and the lengthier page count helps as well.

Last Knight, in it's own twisted way, is a really fun read and it's great to see Snyder and Capullo with the shackles off and weaving a strange new tale in the DC Universe.

Last Knight on Earth, in my opinion, was the best Batman comic of the year, with amazing artwork, a weird and psychedelic story, and a firm understanding of Batman's role in the DC Universe.

Ultimately, this is a fun story that highlights a younger Batman and Robin and their differing approaches to fighting crime, along with a Freeze who is evil, but still retains a brief hope of redemption.

I expect that Battlestar Galactica fans will enjoy this series, along with readers looking for some light sci-fi action.

This comic will definitely disturb you, which is precisely what it's trying to do.

Bedtime Games gets creepier and creepier, as the demonic Mr. Bedtime inches closer and closer to the three protagonists of the story.

If you're looking to read the adventures of Scarlet Spider in a locale that's not New York, you'll like this issue. Otherwise, take a pass.

This issue is a totally superfluous tie-in, necessary only for current readers of the series.

Ben Reilly: Scarlet Spider might have just had the worst event tie-in in recent history.

This still isn't a very good superhero comic, but I enjoyed Will Sliney's artwork, especially in the first couple of pages as Reilly contemplates the consequences of his (many) poor decisions.

This is probably the first time that Scarlet Spider has really felt like a Spider-Man book, albeit one with two knock-off Spider-Men and a villain who's the midriff-baring progeny of one of Spider-Man's classic villains.

Ben Reilly's latest excursion with the supernatural takes an unfortunate turn in the latest issue of Scarlet Spider #19.

Scarlet Spider isn't as good as X-Factor, but the book seems to be trending in the right direction.

This is the comic equivalent of having sand in your eyes while a ten year old kicks you in the crotch repeatedly. It's a miserable experience.

This wasn't a terrible issue, but I feel like this plot would have worked better with X-Factor than two reject Spider-Men.

The Scarlet Spider gets really dark. Really, really dark.

One of the best written issues of Ben Reilly: Scarlet Spider is marred by new series artist Bruno Oliveira's uneven art.

I'm not sure if the ambiguous ending is what Reilly fans wanted, but it's probably what the character deserved after such an uneven and frustrating series.

This comic has my attention, although I think it's success will be how well the monstrous mysteries in the jungle deviate from traditional war stories.

Beyond the Pale #2 continues to mix the grit and vileness of the Vietnam War with the strange monsters lurking in the jungles.

The twists in this issue of Beyond the Pale is much more barbarous than anything I would have expected, and really sells the idea of setting a horror comic in the middle of the Vietnam War.

It's just a little odd to see Jack Burton portrayed as a Kurt Russell bobblehead, complete with an oversized head.

Bitter Root isn't afraid to tackle weighty issues while still having some fun, giving us some new heroes that are much needed in today's world.

Bitter Root is a fun book, Bitter Root is a smart book, and most importantly Bitter Root is a necessary book for today's world.

This is a deliberately grim comic, but a powerful one.

The deep metaphors in this book, wrapped around an exciting storyline about facing insurmountable odds, are extremely good.

It's still a fun issue, if a bit crowded at times, but it does a pretty good job of continuing the story and setting up an interesting arc that could shed even more light on the Jinoo and its source.

This issue is mostly a reintroduction to the world of Bitter Root, but it's a great jumping on point and also sets up even bigger stakes for this next arc.

Overall, this is still one of Image's best series.

The creative team of David F. Walker, Sanford Greene, and Chuck Brown are doing fantastic work in Bitter Root, blending together action and magic with hard looks at the racism that Black people have always faced in our nation.

Everything else about this comic"the story, the art, the dialogue"was great, but I personally was a bit frustrated with how the comic was paced.

After all, what progress is truly being made in dealing with racism and bigotry, even after a summer of protests and endless talking points and superficial changes?

Bitter Root #11 serves as a great jumping on point for one of Image's best series.

Bitter Root continues to impress as it weaves multiple subplots around the Sangerye family.

While it does a good job of ramping up the anxiety (as we don't quite know whether there will be more casualties or not), it has the potential to obfuscate some the overarching plot.

It's another fantastic issue of one of the best series in recent years. Every issue is a must read.

While the conclusion felt a bit rushed, I still loved this comic as a whole and I hope that it won't be too long until we see the next generation of Sangerye continue the fight.

This is the rare anthology comic that enhances its character instead of padding it, providing some added depth before Bitter Root's second arc.

All in all, this is a sad and melancholy comic, which are the kind of comics that Jeff Lemire is best at writing.

Tomasso and Lemire are like peanut butter and chocolate, a great pairing that should have always been together in the first place.

There's a lot of noise in this issue, but little of substance.

I may have issues with Tony Isabella's plot in this miniseries, but it's clear that he still understands the core of what makes Black Lightning so great.

Moreno Dinisio's coloring work this issue is really a delight, with bright colors that feed into that sense of security that makes the carpet pull at the end of the issue so delightful.

It's a touching issue, a calm before the storm of what's sure to be a hectic and deadly final arc.

At times, the comic seemed a bit gratuitous in its depiction of Natasha's suffering, especially during an extended waterboarding/torture scene, although it certainly seems in line with the Soska Sisters' general aesthetic.

Blackwood could be a contender for series of the year, and I can't wait to read what happens next.

There are a few action scenes that feel a little clunky, but otherwise Blackwood continues to be a must read for Lovecraft and horror fans.

This is the best horror comic of 2018, a must-read for fans of the occult, Lovecraft, or the strange.

Evan Dorkin and Veronica Fish's horror miniseries was one of the best comics of 2018, filled with Lovecraftian horror and plenty of creepy despair.

Blackwood was a great comic that didn't receive nearly enough acclaim, and I'm glad to see its mix of occult weirdness, humor, and horror return.

The artwork in Blackwood remains fantastic, as Veronica Fish continues to bring the world of the comic to life with her vivid art painted with a mix of gloomy technicolors.

Humorous, heartbreaking, and intense, Blackwood: The Mourning After is a great series that should be getting a lot more acclaim.

This is a solid comic, focused on building a mystery but shows little ingenuity outside of its plot for now.

This is still a strangely straightforward crime comic, but it's not a bad one.

Blood Tree hasn't been that compelling yet, even with its slightly abnormal serial killer. It's not necessarily a bad comic it just feels very average at the moment.

While the story is still a bit formulaic at times, that doesn't mean that the crime comic isn't an enjoyable read.

It's an intense issue that relies a bit on a few weird ungrounded leaps in how law enforcement works to get us to the point, but we're certainly in for an interesting finale.

The serial killer's motives were interesting, but the comic really struggled to define itself and separate itself from the countless other cop stories out there.

Choppy paneling aside, this is a solid comic and a must-read for those who enjoyed the game.

Bloodborne is the rare video game comic adaptation that actively explores and expands on its source material.

Bloodborne is a great horror comic, and a book that transcends the material which it's based on and finds a way to truly disturb every issue.

Originally, this issue was supposed to be the end of Ales Kot and Piotr Kowalski's story on Bloodborne. But while this issue's end is appropriately vague, I'm glad that we'll get to see more of this world for a while longer.

This is a fun opening chapter to what should be a solid superhero series.

This comic contains classic Blue & Gold shenanigans and is still a very fun read.

The constant crowd chatter and social media comments scattered throughout the panels tend to be distracting. I get that it's tied to the gimmick of the comic and the distracting peanut gallery is supposed to be the point, but it doesn't really add much to anything and is starting to wear out its welcome.

This comic definitely feels like a throwback to a previous era of DC comics, but that's not necessarily a bad thing.

Honestly, Blue and Gold #5 felt very underwhelming, but it at least seems to be moving past its initial concept.

Great issue and a great end to the maxiseries' first arc.

Another fun issue.

Overall, I enjoyed Blue & Gold. It had a throwback vibe to it. While the art was somewhat inconsistent at times, Ryan Sook wraps up the series on a strong note and gives us a happy memory to end Booster Gold and Blue Beetle's latest misadventure on.

Blue Book #1 contains well-drawn recountings of two well-known paranormal encounters, both of which are gorgeous to look at but have very little substance beyond the artwork.

Maybe I'm not the target reader for this kind of comic, but I'm truly disappointed that the script makes no attempt to make these sort of historical urban legends original or unique in any way. Oeming's art is great, but in this case I feel like he's basically illustrating a wikipedia page.

Blue Book delivers a banger of a backup story, thanks to Lonnie Nadler and Jenna Cha's grotesque take on the infamous Tarrare, who lived during the French Revolution and was afflicted with an unceasing appetite.

The lead story features an extended sequence regarding the repressed memories Betty claims she experienced during her time on the UFO. The conversation in the comic is at least somewhat unique, or at least dives into more detail than what can be easily found through a quick Google search.

Honestly, Blue Book has mostly felt like a big whiff, despite the caliber of creators involved.

The comic tries for an Unsolved Mysteries vibe but instead comes off monotone and frankly boring.

Unsurprisingly, Blue Book's secondary story continues to be immensely more interesting than its primary story.

The slow and methodical take on the birth of UFOs in popular culture has gotten a bit more interesting as it delves into the most well known UFO incident in US history, but honestly this comic is still incredibly dry.

Frankly, I just don't get Blue Book. Maybe it's because all of the information here is something I've read about before, but I hope that a third installment of this comic is preceded by some research on how to make history more interesting in comic form.

While Oeming's art is always a blast, this comic's narration is so dry, it just kills any sort of wonder about flying saucers... which could be the point, although I somewhat doubt it.

It's not that The Books of Magic #1 is a bad comic; it's well-paced, the art is solid -- especially the opening pages that recap the original Gaiman-written series in a medieval tapestry inspired style -- and the dialogue sounds realistic. However, it's painfully unoriginal and takes no risks or chances either in plot or layout.

Books of Magic #2 is a definite improvement over the first issue. Instead of portraying Tim Hunter as a generic teen seeking to learn magic, now he's a sullen troubled teen that wants to use magic as a cure-all to fix his family.

There's a disjointed feel to this comic, as events important to the plot are brought up after the fact.

For the first time, Books of Magic doesn't feel like a generic "kid learns magic" story, and next month's trip into the Dreaming could really help open the series up further.

Honestly, I felt Hunter spent too much time in the Dreaming, as the scant pages spent in the real world felt much more interesting and had a lot more consequences to the main plot.

This isn't the best book, but it's slowly getting better.

Border Town remains a poignant and timely comic, one that serves as both vicious mockery and a hard look at the issues surrounding the U.S. immigration issue.

It was pretty obvious that Briar was being set for a fall given her pontificating throughout the episode, although I think that it played into the subversive nature of the comic so far.

The misery seems set to continue next issue, although something has to give unless the comic wants to continue to heap more misery on these characters.

It'll be interesting to see whether the comic continues to torment Briar, and what the increasingly brutal consequences when she inevitably reaches a breaking point.

While I feel like the actual escape relied a bit too much on luck and not enough on character or quality, I feel like the series might have had a soft reset... or at least found more solid footing to move forward with.

By the Horns presents an intriguing fantasy world, a solid story hook, great character designs, and a few big questions that should keep readers invested for a short time.

This is a fun fantasy comic, but nothing too complex or groundbreaking. Hopefully, it continues to grow beyond standard fantasy tropes and into a unique storyline.

If you're a fan of fantasy tales and don't mind some mild gore, you'll enjoy this comic a lot.

This is a fun issue with some uneven pacing, but I'm continuing to enjoy each issue.

Still, the worldbuilding in this comic and its take on fantasy tropes are both great, and By The Horns continues to be a fun read every month.

While the actual inciting incident that leads directly into By The Horns' main storyline is a bit of a letdown, I think it's more than made up for by some great art and an interesting one-off gimmick.

There's not much to add about this issue that hasn't already been written in previous reviews - By The Horns is a fun and furious fantasy story that usually moves at a frantic pace at the cost of proper worldbuilding.

The comic seems to explain why Bruno is fighting zombies on the Titanic (in a video game that hasn't come out yet), but honestly both the art and rather boring plot really makes it hard to care about the character or his past.

The Captain America & The Winter Soldier Special fills in a lot of gaps in the previous Captain America arc, providing much more interesting stakes for the coming arc.

The comic has interesting stakes but I think this opening chapter feels a bit too much like moving pieces into position for an event than actually telling a good story.

This arc has the same problem as the Lanzing/Kelly Captain America book it rushes to a reveal that hasn't earned any emotional reward.

Between this and Captain America: Symbol of Truth, this new era of Captain America is off to a great start.

Lots of intrigue in this issue but your mileage might very.

My biggest complaint about Sentinel of Liberty has been the dud of a central mystery, one that relied more on buzzwords and teases than actual substance. This issue goes a long way to correct that, with the beginning of an explanation as to the new enemy that Rogers faces and its ties to Captain America's shield.

I'm still not convinced about Outer Circle as a viable threat, but I am enjoying this comic's take on Steve Rogers.

Sadly, this comic has a bunch of cool ideas but it's playing out too fast to its detriment.

While I feel like this arc was a bit rushed, I was certainly happy with the payoff.

Captain America: Sentinel of Liberty kicks off its second arc with Cap bringing in his own allies to fight The Outer Circle. It's a nice reminder that Cap still has plenty of friends who are (almost) as well connected as the grand conspiracy that has been pulling society's strings for the last 100 years.

While the comic could have played out the missing days a bit more, they choose to skip the drama and cut right to the resolution. It undercuts a pretty cool idea once again, which has been a flaw of the series since the opening pages.

While M.O.D.O.C.'s "control" makes a bit more sense than the world-ranging conspiracy that was revealed in just three issues during the first arc, it's still sloppy writing for a serial series.

Honestly, this might be the strongest issue of the series, following a rather weak previous issue.

While I feel like the action bits in this comic are still the weakest parts, I enjoy the character building and the layers of intrigue that are gradually getting built here.

This crossover's external stakes have been great, but the internal conflict feels lacking.

The story here isfine, but the disappointing part is really the artwork, with Peggy Carter and Black Widow looking way too similar and the artwork really lacking any sort of distinct style whatsoever.

Captain America: Sentinel of Liberty ends just as it begins with a rush to the finish.

This isn't a bad comic, but it can be a struggle to separate reality from visions and parable at times although that may be the point.

Claire and the Dragons #1 is a foreboding opening chapter for a strange (but good) fantasy series.

Copperhead is a pretty good sci-fi comic that's let down by its art style.

While Mack's art is gorgeous to look at, the comic suffers from a major narrative problem.

Cover feels like Brian Bendis's love story to the comic industry....while also being an okay spy story.

Cover appeals to a very specific audience, and at this point readers have decided whether they love the comic or have moved on.

David Mack's art is absolutely stunning as always, and even while I felt the ending played into the cutesy-ness that I complained about earlier, it still wrapped up the whole meta-narrative of the comic nicely.

Humor is hard to do, and it's a shame that Marvel didn't reach out to some of the recently laid off Mad writers to get some folks with more experience for this (thankfully) one-off experiment.

Unlike the last Tales of Exandria miniseries, which was a little too self-serious and confusing, this new issue captures both the feel of the Critical Role campaigns and Artagan himself and this is definitely something that Critical Role fans want to pick up.

Tales of Exandria attempts to reconcile the more sinister depiction of Artagan in Critical Role's first campaign with his more disarming personality in Campaign 2. The comic does a fantastic job of showcasing his proclivities for lying and harm while framing it from his perspective as a harmless prank.

The issue is that the comic has probably leaned a bit too heavily into Artagan's chaotic side and the damage it's done to so many people, that it's hard to really see much redeemable about him if folks haven't followed his somewhat redemption arc in the second Critical Role campaign.

A fantastic issue and one that sets up a great finale next month.

For better or worse, this comic is geared primarily to the hardcore Critter, to the fan who cares about the deep lore of the series and its intriguing mysteries. While I'm personally interested in what the Luxon and the Spider Queen (a title of Lolth, one of D&D's oldest villains and the traditional goddess worshipped by the dark elves who rule the Kryn Dynasty), I feel that this comic might be a bit too somber and caught up in its own lore to be of real interest to the more casual fan.

The comic's narration is also a bit dry, which is why this comic is hard to recommend for non-Critical Role fans. Still, this is a pretty ahem critical comic for Critters everywhere.

This is an interesting comic, but one that doesn't have much appeal outside of Critical Role fans.

This has been the weakest Critical Role comic released by Dark Horse so far.

Vox Machina Origins II is one of the best comics adaptations I've read in a while. It oozes fun and personality, and serves as an excellent starting point for fans interested in what Critical Role has to offer. It's also a great fantasy series that can be enjoyed by anyone who loves traditional adventures in high fantasy.

This is another wonderful issue"a must read for Critters everywhere.

This issue reminded me a lot of the early episodes of Critical Role, in the best possible way, and I think fans will continue to love this series.

Olivia Samson's artwork remains phenomenal"she's had a fantastic 2019 and I hope we get to see her shine even more next year.

I'll admit that the actual introduction of Percy and his reasons for joining are a bit weak, but I don't think that's as much of a comic issue as it is just the typical problem with introducing new D&D characters in a campaign.

There's still tons of great character moments and most importantly the feeling that Vox Machina's adventures are just getting started.

Another solid comic that only requires the scantest of information about Critical Role to enjoy. This remains one of the best fantasy comics on stands today.

This is still a fun issue, but it's one of the weaker chapters we've had in the Vox Machina saga.

Although there's a bit of dissonance between this issue and the previous two (which focused on an underground fight club), most Critical Role fans should be pleased to see Vox Machina return to more traditional heroics.

My only issue with Vox Machina: Origins is that I feel the miniseries meandered a bit while setting up this chapter's particular mystery. Part of that is the nature of the actual Vox Machina campaign, but I still feel that parts of the Vox Machina campaign can be condensed a bit to get to the meatier parts of the story.

This was a fun issue that highlights how not every problem needs to be solved with ample violence and also nicely sets up a change in locale.

Honestly, this is a very deflating ending for the latest Critical Role comics series.

Jody Houser, of course, understands these characters very well, while Noah Hayes' art is absolutely fantastic and really brings the characters (and also many of the subtle facial expressions) to life.

I do feel like this comic sometimes gets caught up in the shenanigans a bit too much the comic hardly references why Vox Machina was split up or their goals, instead pushing them to the next plot point. It's still a fun comic, though.

This issue shows the rest of Vox Machina fighting their way out of the Underdark (after dealing with a nasty monstrous bug. It's the typical Vox Machina violence shenanigans, although the second half of the comic when the team is reunited is when things really start to shine.

The comic succeeds largely by understanding the relative strengths of the video game but not recreating it beat for beat, which ultimately provides fans something they can enjoy even as the comic stands on its own two feet.

At times, I felt the comic could have moved a bit slower as the cast keeps growing, but ultimately the comic is still enjoyable even if you aren't a fan of the game franchise.

This is a fun issue and sets up an interesting new status quo for Ghost Rider, which hopefully lasts past "Damnation".

Charles Soule finds a way to balance city politics with superheroics as Murdock struggles with finding the best course of action to protect his city.

The issue ends on a bit of a weird reveal, but I'm mostly enjoying how Charles Soule and Mike Henderson are finding new ways to test the Man Without Fear.

Writer Charles Soule is walking a very thin line right now between crazy awesome and absurdly stupid.

Charles Soule and Mike Henderson has taken readers on a crazy ride, one filled with demons, warrior priests with jetpacks and plenty of strange twists and turns. On one level, I don't know if all of the zaniness is the best fit for a grounded hero like Daredevil, but honestly it was fun to see what insane stuff would happen this issue.

It really feels like a soft reset for the series, a reminder that Daredevil functions best when fighting mobsters and dealing with street level problems.

Sure, the issue's only truly tense moment is when a dog gets held hostage at gunpoint, but Soule keeps the humor level somewhere between bemusing and pure slapstick, and it really works.

Whether this turns out to be a successful direction remains to be seen, but this remains an enjoyable and intriguing comic to read on a monthly basis.

There's a frantic feel to this issue, as if Matt knows that his time is running out. And while there's sure to be a twist to the whole "Death of Daredevil" arc, Soule and Noto manage to make this comic feel like the end might actually be coming soon.

This is some of Soule's strongest work yet, and I'm looking forward to the next chapter.

I was disappointed by how the issue glossed over so much of the history between Daredevil and some of his opponents -- if this truly is Daredevil's end, then a few of these characters deserve more than a passing mention and a line of dialogue. Still, the creative team of Soule and Noto are continuing the build a sense of finality, as Daredevil seems to be running out of options and places to hide.

In the end, Daredevil feels most at home in a courtroom and, more broadly, in New York, and Soule found a way to put Daredevil back in both.

All in all, this is a fun but probably not necessary superhero one-shot.

This is a strong debut for Zdarsky and Checchetto, and I'm curious about how Daredevil's story will continue in future months. I'd love to see a story that focuses on tormenting Daredevil in different ways, and it looks like the new creative team will deliver just that.

This is a great start to a series, and it really brings Daredevil into some surprisingly unexplored territory.

This is another fun issue that explores a side of Daredevil that we don't often see, and the series is quickly becoming one of Marvel's finest books.

Chip Zdarsky and Marco Checchetto's fantastic run on Daredevil continues as the Man Without Fear finds himself with a strange new ally: the Punisher.

Ultimately, your enjoyment of Dark Crisis: World Without a Justice League Superman #1 will be dependent on your feelings of past Tom King comics. If you like King's commentary on wartime framed through superheroes, then this comic will definitely be your speed. But if you're tired of the glorification of "just wars," instead of acknowledging that war is nothing but a repressive tool that churns through innocent lives and sullies the morals of anyone it touches, you're probably not going to like watching Jon Kent grow up to join the war effort.

Dark Knights of Steel is an exciting comic book and will hopefully mark the start of a wider world that Taylor, Putri, and other creators can romp in for years to come.

This is already becoming one of DC's strongest comics.

Dark Knights of Steel #3 is a fantastic comic, one that tells a great story unshackled by the constraints of continuity.

While there aren't as many shocks like the previous episodes, I did like the creepy take on the Green Man and felt that it provides a fresh take on a pair of classic DC villains.

This was a great fifth issue and sets up what should be a very intriguing second half of the series.

This is another very strong issue of one of DC's best comics.

This lacks some of the shocking twists of previous issues and I feel like the comic isn't doing as good of a job of establishing various DC characters as unique from their mainstream counterparts. Still, a fun issue nonetheless.

This isn't high fantasy it's violent fantasy and I'm enjoying every moment of it.

The comic moves a step away from the dark fantasy genre it had embraced up until this point and I think that may turn some readers off.

Art is gorgeous as usual and we're approaching what should be a good finale.

This issue mostly serves as a way for the collective cast to take a breath and take in and react to all the twists they've experienced over the past few issues. It's here that Taylor's writing really shines, as he finds ways to showcase his understanding of the DC characters even when they're in new and radically different environments.

Dark Knights of Steel ends with one more shocking death, but otherwise wraps things up in a pretty satisfying way.

Allwinter is a solid expansion to the original Dark Knights of Steel and I'm glad that DC sees value in this fantasy-inspired take on their superhero universe. Taylor ushered in a bold and dangerous ethos with the original miniseries and Allwinter, at least at the outset, appears ready to continue this.

Allwinter continues with a pair of quick-paced chapters, with Slade encountering an old flame and his wayward daughter while becoming entangled with the strange boy Alec (who brings a dose of literal color in an otherwise grey-toned world).

Almost every panel looks out of focus and blurry, like a piece of runny watercolor art. It's noticeably terrible, and a worrisome sign about how seriously Titan Comics is taking the franchise.

Darkhold: Blade #1 is an easily missable comic. It is neither a satisfying Blade story nor does it provide any deeper insight into the events of the Darkhold mini-event. It's simply a vampiric Mad Libs, a frantic mess that uses cheap twists in place of an actual plot.

The story's a bit of a mess too, but the comic might have been salvageable with a less mottled color job.

This is a weird comic, but in the best possible way.

This is a comically ultra-violent comic, but one that also uses extra-normal circumstances to examine the toxic effects we can have on our lives.

Both stories are a great catharsis for fans mourning Alfred's loss, which has only been tangentially dealt with in Batman's main series.

If you want a "classic" Batman story, I suggest you give Detective Comics a read.

A lot of this issue focuses on Batman's redundancies in place to protect him from Freeze. While it was cool to see Batman's forethought in action, it did take a way a lot of the suspense this issue.

When she awoke last issue, I was curious how she would look at her husband's attempt to preserve her until he could find a cure. The results were... well, they were a bit underwhelming.

The comic isn't necessarily bad, but it certainly implies the wrong message.

Hopefully, a future writer can find something interesting to do with Mrs. Freeze, because this arc didn't really do her any favors. -

It's not a perfect issue"the ending wraps up a bit too quickly"but I really love stories that examine Batman's relationship to both Gotham City and his own Bruce Wayne persona.

While not filled with earth-shattering revelations or teases at the next big plotline, I enjoyed Detective Comics as an isolated look at Batman's current state of mind and his new status quo without Alfred.

This is a weird Batman story, and not a particularly good one.

Tomasi's Detective Comics has been very hit or miss (his "hits" are great, but his misses are very mediocre) and it's too early to tell which this will be.

It also seems like this comic seems to be in a holding pattern of sorts, focusing on standalone stories with no wider theme until DC figures out its next steps.

This is just a messy story arc and it looks like it'll get messier given the comic's intention to tie into Batman's "Joker War."

This issue does not inspire any confidence in the wider Joker arc.

This is not a good superhero comic at all.

If you enjoy the creative teams and don't mind paying a premium for comics meant to provide only a snapshot, this comic is at least worth a flip-through.

While this isn't a really innovative story, it does seem to indicate a big change of pace for DC's oldest Batman book, and that's likely a good thing.

It's an interesting story direction, one which could really explore Batman in a new fashion. Unfortunately neither the Mirror (a new anti-vigilante villain) nor these hints of the Black Casebook are really compelling, so we'll have to see if the action and interest picks up in future installments.

It's a shame that we couldn't get this bold new art direction at the beginning of the current arc, but I'm suddenly much more excited about the mystery surrounding the Black Casebook.

I'll give this arc more time before making a final decision, but the whole issue definitely caused some skeptical eyebrow raises.

Obviously, this is a "filler" arc designed to set up the next creative team, but I can't stress how disappointing this arc has turned out.

I wish Tomasi could have gotten to go out on a stronger storytime, but I feel like a lot of his stories will be more fondly remembered over time.

Both are good comics and show that the Batman line is recovering nicely from the bloated "Joker War" event.

Honestly, the Huntress story is the reason to read this comic"Henry's art is amazing and Tamaki delivers one of her best superhero outings to date.

Props to Mariko Tamaki for trying something different with Batman, as this storyline has been a hoot.

Detective Comics #1038 shows that the corruption of Gotham City can't be solved by one new mayor or a new status quo.

Overall, I feel like Detective Comics is really trying to do something different with the Dark Detective. Not every story beat and idea necessarily works, but they certain deserve props for not falling into familiar patterns.

This is quietly one of DC's best comics and is continuing to reinvent Batman in a way we haven't seen in quite some time.

Detective Comics #1041 is worth the cover price solely for Dan Mora's fantastic artwork.

Honestly, this is probably the weakest Detective Comics in recent months.

A bit of a let down from previous issues.

I'm enjoying the lead story (written by Mariko Tamaki and Dan Mora) but I do feel that it often suffers from not having enough room to properly show the continue decline and crumbling of Gotham. The backup story (featuring an in-construction Arkham Tower) feels pretty generic and doesn't add much to the overall story.

All in all, a perfectly acceptable Batman comic.

This comic is mostly setting up the next major arc of the Batbooks, with more mood setting and piece laying than actual story.

Like so many other things related to the Batman line these days, it seems that a proper build to disaster has been skipped in the name of "the next big event." Luckily, it at least seems like the skyscraper disaster horror setup hinted at in this issue seems intriguing.

After a shaky opening chapter, I'm enjoying this storyline more this issue.

I feel like the "shocking" reveal robbed the rest of the arc of some of its unsettling dread, as it spelled out something that most fans assumed would already come to pass. It just robs the issue of some of the wind in its sails, which is a shame because this shaping up to be a pretty good arc.

All three are perfectly fine stories that showcase the odd family Batman has built up around him without necessarily focusing too much on Batman himself.

Although not as exciting, I think this sort of issue was necessary to explain how the story got to the point and tease where it's going from here.

After a couple of really strong issues, Detective Comics feels like it's spinning its wheels this issue.

Everything starts to fall apart in Detective Comics #1053.

"House of Gotham" remains the highlight of the series, with another great tie-in with past Batman history (although I'm not 100% sure how the condensed timeline works).

Detective Comics' two stories picked up steam this week.

For the most part, this comic is exactly what you'd expect if you've been reading the weekly issues for the last two months.

The pacing is a mess, and it's hard for me to stay invested at this point.

I'm not sure what happened with "The Tower," but this was one of the least coherent superhero comics I've read in quite a while.

Both stories are very solid and seem more promising than the bloated Tower arc that ran on for way too long.

Detective Comics is laying out a real mystery for Batman to solve, one that seems to be roping in both allies and enemies.

A solid Batman comic, although I'm most interested in what happens next in Detective Comics.

By embracing the darkness, Detective Comics #1062 sets the mood for what could be an instant classic by two of the comic industry's top talents.

This is a fantastic Batman comic, in part because it seems so unlike any other Batman comic that's come before.

This issue teased out some connections with the League of Assassins, but it almost felt like a detour from the haunting story we've gotten thus far.

It's gone gothic in a hurry and is quickly becoming one of the best Batman stories in a decade.

Every good horror story needs some air to be most effective, and I'm assuming what this chapter brings.

Another solid issue of Detective Comics that frames Batman's familiarity with Gotham as a weakness instead of a strength.

Ivan Reis joins Rafael Albuquereue on art for the primary story and while they surprisingly mesh well, there's still a... scratchiness to the art that doesn't feel right. Whether that's a deliberate choice or simply an inker trying to smooth down two different art styles, it makes the story feel a bit grittier.

Ram V is taking readers on a wild ride, although the comic is hurt somewhat by using a team of three artists who can't quite fit inside a cohesive style.

It's a compliment when I say this might be the weirdest Batman run published in recent history.

This is a great series and a fun and weird ride. Definitely, an unforgettable Batman story.

The key to this issue is the unceasing march towards inevitability, there's a very deliberate cadence to this comic that plays upon the earlier concepts of the opera and the danse macabre of the initial arc. It gives the comic an almost unsettling feeling that shows how, even at his stronger, Batman is utterly outmatched.

Detective Comics #1073 sets up a dangerous new Gotham, one that isolates Batman even further and whittles away his remaining allies, while placing the Orghams as a fundamental threat to the city and its populace.

My only real complaint about this issue is that it took me a minute to remember what happened in Detective Comics prior to its "Night Terrors"-induced hiatus, which really seemed to sap this arc of some of its momentum.

Francavilla's art is much more grounded than the past surreal takes in past issues, but I think it's a good match with the standalone story that Ram V tells with this issue.

This new arc seems like a sharp left turn from the dark operatic previous arc, which could be quite interesting.

Jason Shawn Alexander's grittier art style is a good fit for this particular arc although there's a tonal dissonance between the gothic and strange horror of the previous arc and the more grounded "heist" theme of the current arc.

This is a very engaging issue and the one-page reveal early in the issue hints at even more chaos to come.

This was a strong finale to the arc and continues to build upon previous B-stories and character focuses from previous issues. A fun end that sets up a promising next arc.

One of the best Batman stories in years continues to churn out a strange, melancholy melody.

It's a surreal issue illustrated by Riccardo Federici and Stefano Raffaele that ties directly to the Orgham's origins, although it's not quite clear how much of this is real.

The third act introduction and focus on Dr. Hurt is interesting, although it feels somewhat late in this long-running arc to bring him in and play anything more than a representation of the devil on Batman's shoulders.

I did feel like this mini-arc perhaps stretched a bit too much, with the involvement of Dr. Hurt seemingly slotted in as a late addition, but once again Ram V brings everything together to a satisfactory conclusion.

Honestly, this issue didn't do anything revolutionary or spectacular, but it got a "Hell yeah" from me simply because it felt like a return to the classic Batman after a lengthy breakdown of the character and the concept.

Detective Comics #1085 shows the darker and more focused Batman in action, not only with his brutal fight against the Orghams now fully underway, but also with Batman taking steps to counter their supernatural powers.

Another solid issue although the build-up seems to be inching along pretty slowly this close to the finale of this grandiose arc.

The B-story featuring Batman and Azrael is a particular highlight, in part due to Francesco Francavilla's fantastic artwork.

I appreciate that Tamaki is willing to tackle sticky issues in her superhero comics, although I think the fundamental nature of superhero comics (or at least DC's current status quo) prevents any real lasting change, which feels pretty depressing.

This is definitely the most interesting Detective Comics has been since the Morrison era and I'm looking forward to the comic's continuation.

Die lures you in and sinks its hooks into you, leaving you wanting more and, in essence, turning you into the very thing it warns against.

The Wicked + The Divine, Phonogram, and Journey Into Mystery always had a bit of a playful side that balanced out all the darkness, but DIE is all horror, darkness, and misery. And it's absolutely brilliant.

Gillen knows how to twist the knife in a way that both depresses and educates his readers.

This book is such a masterclass on storytelling and a commentary on TTRPGs, and I can't wait to see what happens next issue.

DIE #5 is a pretty fantastic issue, the perfect finale to an action-packed opening arc.

As Kieron Gillen notes in the afterward, DIE is not only about RPGs, but also about how people get the fantasy they crave and the consequences of it. In that regard, DIE is another brilliant issue, with beautiful Stephanie Hans, a story that deserves multiple re-reads, and an ending that reveals just why the party was so hesitant about going back to their old stomping grounds.

As always, everything about this series is perfect, and DIE remains one of the top characters on the stand.

This remains such a complicated and wonderful book that reminds readers that not all choices have easy answers or clean endings.

This remains a fantastic fantasy series that takes a hard look at how the games we play affect our lives.

This is easily Image's best comic of the year.

Die remains a masterclass in blending fantasy action with heartwrenching introspection, and I can't wait to see how this arc ends.

A ton happens in this issue, including more digging into the literature that forms the foundation of DIE, and this continues to be the best comic available today.

I could write a long essay about why DIE is a must-read comic, but it's definitely a "critical hit" for anyone who has ever had a complicated relationship with a game.

It's hard to explain much more without spoiling this issue, but just know that DIE remains the best comic on the stands today.

The next arc sends DIE into one of the most classic fantasy tropes of all, and I can't wait to see what happens next.

As DIE enters its final act, it heads to a new area marked by a new theme familiar to all gamers - cosmic horror.

If you have a relationship with tabletop games or the Cthulhu mythos, this is a must-read comic.

Everything about this comic is heartbreaking and somber, and I'm wondering how the creative team will deliver even more sadness in its final two issues.