Forrest Hollingsworth Comic Reviews

New and old fans rejoice: Absolute Carnage is Carnage, absolutely. Bleeding care, craft, and serious dread out of its very pores, this is a new and seriously good Venom story wholly, wonderfully, and horrifically realized.

Quite simply, Absolute Carnage, like the central psychopathic killer himself, rules.

A surefire descent into Symbiote insanity. This is a haunted house story done right with McLeod Chapman and Level pushing each other to all-time highs.

Repetitive and reductive, Lethal Protectors fails to make a positive impression with its first issue despite some cool, finite and specific scenes.

A compelling introduction and some fantastic art are the only things holding back this Absolute Carnage tie-in from being completely forgettable.

This is a solid, tense issue penned and realized by an incredibly talented artist. I recommend fans of the property check it out as soon as possible, Alien Day being as good a reason as any.

It's a stellar sci-fi horror comic in its own right, and it's a hell of an Aliens one, too. I'm excited for where Hendricks and Davis are headed even if they have no right to be.

It’s masterful, just masterful. A fully encapsulated story that could go a million directions but settles on one that’s real, authentic and still, surprising.

There’s some missteps but ultimately, readers should be able to forgive them simply because Arcadia tries really hard to throw us into something big and bold and, for the most part, succeeds.

A fantastic return to the world of wise dogs, their magical powers, and the dark nooks and crannies between. This is a welcome addition to the Beasts of Burden collection that familiar fans and new readers alike should feel comfortable picking up.

A perfectly balanced, dark and beautiful demonstration of everything that makes Beasts of Burden the compelling book that it is. This continuation of an already interesting saga ramps up the stakes, hints at an encroaching darkness, and looks good doing it.

Wholly unique and metal as hell, this take on Beowulf is endearing, strange, and compelling but sometimes unbalanced. If monsters, men on suicide missions, and the emotional fallout is your thing, you have to give this book a look.

Bitch Planet is obviously about gender theory at its broadest and about feminism and female identity on a personal level at its narrowest. It wears those messages on its sleeve. What it doesn't do, though, is pander. This is a complex and layered story that someone could enjoy without thinking about its connections to the real world at all. It's merely strengthened by its poignant nature, not weighed down by it. The pacing is right, the message is honest and earnest and the art is beautiful. Don't miss out.

This is a good standalone story that, after seeing Penny in the context of Kogo’s “main” story, I would’ve liked much more. It’s really too early to be doing things like this no matter how inspired and good it is because, again, it still is very good.

I wasn’t entirely sure I understood Black Cloud #1 after my first readthrough, then. I can’t be sure you will, either. Be sure, however, that the team here is laying the groundwork for something fantastic, to be sure, but it may leave some readers by the wayside. With that in mind, if you’re still interested, wade into the deep end and see what you find. There’s a lot to see, maybe something to learn and I think, even more to come.

Ultimately, this giant and delightfully indulgent issue serves to flesh out both the world our heroes lived in, and fought for, before meeting their untimely farm imprisonment as well as the inhabitants themselves. It's not an issue for new readers like some might expect, but it is a hell of an issue for what was probably the best new comic of 2016.

Ultimately it’s a beautiful and bleak introduction whose story doesn’t totally grab you. A half good and half misstep of a first issue, it may take an issue or two but Wood fans will probably find something to like and Brown's art is certainly worth checking out.

This is a great introductory issue that sets up the second issue to reel us in the rest of the way. There’s some obvious dialogue and maybe too much of it but, in the end, I’ll be coming back for Broken World #2 and, you should, too. How couldn’t you after that ending?

Sleek, effective, and refreshing in its simplicity, this is a commendable Marvel debut from writer Tini Howard as well as a simply great Captain America story because it touches on the core themes of the character's ethos with little muss or fuss.

A first issue weak on plot and pacing but heavy on the creepy, ethereal aesthetic leaves this outing feeling slightly underdeveloped if compelling.

This arc is off to an interesting, if different, start. The narrative is less focused but still wonderfully expressive and, human. There’s a lot going on in the small mining town of Copperhead and I fully trust these creators to do what they do best in bringing it to life.

Ultimately, it’s just another day in Copperhead. It’s about bad guys and good guys. It’s about space and about people. And? It’s just as good as always.

This is a crisp, fun book that hinges on an old narrative structure but carries an important lesson. If you missed out on it digitally, you don’t want to now.

D4VE #2 isn’t as strong as the first one but it’s still a funny, likeable comic that has a real heart to it. If you haven’t read this before, you should be reading it now. If you have already read it, maybe it’s time to revisit D4VE’s world anyways.

Readers who delight in the Podunk-Western-Revenge tale as well as those who enjoy ghosts, ghoulies and horrible things to surely come will find a lot to like here. Even more so, if this very capable creative time tightens up the focus narratively.

Aesthetically honed and metal as hell, Death Orb has more than enough going on to satisfy readers' visual appetites, but this introductory issue fails to provide as much narrative staying power to chew on.

There’s the occasional fault, mainly in introducing so many characters in such a quick succession, but for the most part it’s a beautiful, enticing read of a first issue that fans of Mind MGMT can rest assured is in keeping with Kindt’s other beautiful, strange and poetic works.

Ultimately, Divinity shows two things. One of them is that these old origin tropes still offer a lot of room for creativity and inspiration. The second, and more apparent, is that Valiant is fully capable of publishing heavy hitting books that, despite their flaws, are interesting and refreshing reads.

It’s the kind of narrative misstep that cheapens the rest of the issue which is really, really good. It’s unfortunate but not issue breaking in the end. There’s a lot of good, interesting and unique storytelling and world building here at the expense of a lonely Russian man and, ultimately, I suggest you pick it up Valiant fan or not.

A fascinating, fun, and frustrating first issue. A Darkened Wish will need to give its narrative and art some more breathing room to really cohere into something interesting, but all of the pieces are here for a great adventure indeed.

A fun and surprisingly raw introduction to a whole new Spider-duo, this is a worthy entry to the Spider-Man family, and especially to the current story -- though it does spread itself a little thin.

Edge of Spider-Geddon #4 can't possibly stand on its own like previous issues in this uneven but compelling saga have. It's far too weighty, and should've been given another issue to breathe. What it does do well though, it does very well. Well enough in fact, that readers who have come this far should be eagerly anticipating the next step into all-out Spider-Geddon!

Ultimately, Alexander succeeds in creating a world I’m interested in visiting again. Especially so, with the immediacy of the art and how rewarding each page is to look at. He doesn’t succeed however, in introducing us to an interesting story in that world. The Empty Zone’s first issue ends up being a beautifully dark but, hollow introduction that relies too much on trickery and not actual suspense.

Ultimately, then, the issue is a strong one. As equally strong as our apparent heroine. It falters slightly, but not enough to detract. Thea’s journey forward, it seems, is going to be fraught with concise dialogue and compelling, masterful art at the hands of a very capable creative time. I don’t know where she might end up, but I’m along for the ride.

I’m warry of spoiling too much, but if Hyper Light Drifter-equse soldiers, massive space beasts and animal-armored warlords are your thing, you can’t afford to miss Extremity.

Overall, Fight Club 2 is a worthy, if over-the-top, follow up so far. There’s a lot to love if you can get past the parts that are too in your face and accept that it's ultimatelty a lot like the original with little remorse.

A strikingly beautiful and sometimes sincere issue that shines on the small scale, this new status quo for Spidey fails to establish a bigger picture that sets all the pieces in place before it starts playing around with them.

A fun, focused second issue that sets a great tone for our Friendly Neighborhood Spidey going forward, this second issue offers up a lot to love with little flaw.

A fashionable, serious and sweet issue of Friendly Neighborhood Spider-Man finds the story's stride. Rewarding storytelling done right, this will excite Spidey fans old and new in ways both familiar and strange.

Overwhelming in its implementation many ideas, Gamma fails to connect to the reader with any of them and instead spreads itself far too thin.

Gideon Falls' amazing ideas have been executed flawlessly up-to-now but this issue makes them start to feel unsustainable under the weight of their own ambitions.

In a sharp rebuke of the weird blip that was the last issue, Gideon Falls gets back to the business of being the weirdest, scariest comic out now in a compelling, tight issue that offers no immediate answers but a fantastic path forward to them that only this creative team could deliver as Lemire and Sorrentino are 100% on top of their game.

With the cohesiveness and promise of this first issue, I, for one, am along for the ride.

Our stalwart Texan hero, under excellent penmanship, and brought to life by a more-than-impressive artistic team, means to keep the very blade that is most assuredly putting himself and his family in danger by the end of this issue, a decision which leads the series into a surefooted second step and charts the course for compelling, cosmically bewildering and bombastic feats of God, man and everything in between (or perhaps arising from below) to come.

“What it really was, and Lord help ‘em, they couldn’t have known this, was a time to batten down.” The issue warningly starts off, but more than anything it’s time for readers of all kinds to be picking this book up.

Consistently and somewhat stunningly, God Country continues oozing creativity. This issue, even if it falters a bit in visual choreography, is no different. I implore readers of all walks of life to check it out.

Full of interesting tidbits about the music industry, but carried away by a fixation with a character that is not part of the story (not yet at least) and way more fact than fiction, Gunning for Hits' first outing fails to inspire.

Welcome to Harrow County, you’ll love your stay even if the characters don't and, that's the whole point.

Harrow County is my new favorite on-going series. It has its issues with pacing and the rare misstep in art but, for the most part and in the best ways possible, it is a dark, deep and endlessly entertaining look at a place that pulls you in with its country charm and, holds onto you with its bloody claws.

It’s impossible to talk about this issue more without spoiling things but suffice to say it’s a warmer look at Harrow County than we’ve seen, it’s a look at Emmy’s heart and, it’s a hint of what’s to come. You can’t ask for much else.

This is an honest, emotional first issue with a twist that will probably make or break it for readers but works for me. The team here is firing on all cylinders and I’m eager to see where it’s headed.

This is a book, even its first issue, that has a very clear and direct mission statement, a clarity to it. It’s energizing, intense and fantastical all at once. I’m enamored and I hope many other readers will be, too.

This issue is a little more disjointed than previous ones in the arc but it introduces a variety of elements that are sure to pay off soon.

I love Hellboy. I love Mignola, Arcudi and Maleev. I don’t love this comic. Maybe, just maybe something crazy and substantial will happen in the last issue of this run but as of now, it’s hard to see why this story exists at all.

It’s not a perfect issue, but it does undo the worst parts of the previous issue at the very least by giving context to Hellboy’s storied past. True Mignola or Hellboy fans will enjoy the look into the character’s youth as well as his first step toward becoming the thing he is now but, there’s this lingering feeling of missing out on something truly important or defining.

Ultimately, it's not a stronger Hellboy outing but it isn't particularly offensive either. An issue that exists somewhere in the middle, dedicated fans may find it familiar but satisfying too.

Ultimately, we have a variety of stories that do what they set out to do, one which I think really successfully teases a yet-unseen shadowy corner of the Hellboy universe in The Visitor, but the other two of which are fun but pedestrian stories.

Ultimately, this is a good first issue but it isn’t a great one. There’s some inconsistencies in both art and storytelling that I can only hope get addressed so that we can more fully enjoy the truly original and exciting concept at the heart of this book.

Issue two doesn’t really make or break Hellbreak yet. It adds a little depth and flexibility to an interesting premise and shows that these creators are honing in on something special. But, it doesn’t deliver on the characterizations that this concept deserves.

This is a truly great first issue. One that’s built on a unique idea but that is driven by its people, not its plot. That’s the best thing a comic can be. A vehicle for mediation of the human condition even on a 29 thousand foot tall mountain. This is a hell of comic.

Right near the end of this issue, the narration veers a little too close to poetic for my tastes but then, it’s perfectly grounded again. These two creators are totally, perfectly in control of this story and, they’re both really good at what they’re doing.

Ultimately, this issue struggles a bit more than the first two and could use some breathing room but, it’s still a thrilling installment and I couldn’t be more scared and excited for what happens next.

Hit 1957 is not for people who haven't read the original series. Right now it's a decent, dark and efficent story that follows up the original well but makes some missteps in execution.

It’s a beautiful, weird, first issue that I liked a lot but is desperately trying to outpace readers who may not be familiar with what’s going on here. Fans of horror, graphic and psychological will find a lot to like here but others might not.

Infinite Dark might not sell readers with its relatively slow first issue but its blend of human drama and extraterrestrial horror hints at more compelling things to come that just might.

Invisible Kingdom's first outing is more than an impressive start, it's a salvo of creativity on both a narrow and broad scale the likes of which I haven't seen in years. Especially appealing for fans of the genre, but near everyone should feel comfortable picking this up knowing they'll find something to like (permitting you have time to make sense of all the new words and worlds).

Invisible Republic is going to be a comic version of The Road, it seems and I’m all for it.

A faithful, if pedestrian, adaptation of Joe Golem's first story provides all the dark pulpy fun one would ever want from a Mignola story without having to worry how it connects to the often overwhelming Hellboy world.

IDW has deftly published this renewal of sorts on the eve of their Judge Dredd: Deviations issue coming out which offers a different spin on the story here. It was a shrewd move, as this reprint is well worth the price and worth your time for any number of reasons. I see no faults here.

The third entry in "The Witching Hour" is uneven but thrilling for the larger questions it asks about not only Wonder Woman but the fate of all magic in the DC world. This won't end pretty but it will be great.

Justice League Dark redirects course slightly coming out of 'Witching Hour' with a darkly funny and poignant piece that puts characters first. It's infinitely more interesting than most of what's come before and genuinely excites for what's to come despite a few missteps.

The Witching Hour finale is imperfect but fascinating. It's a well drawn and tightly scripted affair that sets a lot of things in motion but also forgets to conclude all of the things that have happened in the past. What seems to be coming is scintillating, but a little more focus here could've gone a long way.

Split between multiple directions, and failing to commit to any of them, this introduction to a new Wonder Woman story really fails to generate any interest in its next step.

It’s hard to tell right now if Becka and Kim will get together, if their budding friendship is the driving force here, if Kim’s struggles with her job might be or whatever else Graley throws at them. Ultimately, the issue could’ve done a little better setting up the focal points of the series, but if the rest of the issues are as charming as this, I’m here for them.

Here we have another, strong, tale of Johnson’s. Steeped in adventure, mystery and high stakes, it’s a worthwhile story that I’m very interested in.

This single issue is strong enough to stand on its own, it could be the first issue of Low honestly, but it isn’t and that’s saying something. The emotional buildup and payoff that these creators have established is simply impressive and they show no signs of stopping now.

A largely perfunctory and characterless next step for Daredevil, this issue tries out some cool tricks but fails to really commit to any of them.

It’s not the strongest of introductory issues, certainly not as strong as one might expect from Stine, but it is more than enough to entice at least until the second issue. Fans of Tales-From-The-Crypt-esque writing and visuals should tune in.

Martian Manhunter's character redefining debut is a complete and total success - both narratively and artistically it exceeds all expectations and delivers something both alien and welcoming.

Smart, shocking and so wholly alien Martian Manhunter's second issue a sincere statement and a stunning well crafted issue.

Orlando and Rossmo continue to work together as well as ever and Martian Manhunter's third issue continues to exceed expectations for the character and those of the superhero genre in general, even if this issue is slightly more conventional than the previous two.

Martian Manhunter at its worst is still better than most comics, especially most superhero comics out today. However, this is still the series at its lowest so far, and I hope that future issues tighten up just a bit to get things back on track.

Truly, Martian Manhunter is unlike any other book on stands today. It's emotionally rich and resonant, morally complex and revelatory, and still bombastic and comically fun in a traditional sci-fi sense that rings true with near to no missteps to be seen. With the release of every issue I'm both saddened by knowing it'll end with the 12th -- wanting it to last forever -- and immediately eager for the next month's release.

There’s a lot here but, there’s also very little. This book might materialize into a lot more than it is right now as these interesting but overwhelmingly dense stories make their way into something more solid but, it’s hard for me to recommend this book in its current state.

When Kanye said “Cause who the kids gon listen to huh? I guess me, if it isn’t you” he was talking about Lauryn Hill. When Pires and Peterson say the same thing with Mayday, they’re talking about Hunter S. Thompson and maybe even Fitzgerald a bit. I love them for it and, that comparison is intentionally over the top as much as Mayday itself is over the top, Which is to say, wonderfully so.

Less comic book and more meditation on western culture through a self-aware satirical lens, Mayday is a book I think I’ll remember for a long time. Something between a philosophy text book and Fast and the Furious does Fear and Loathing mashup, it’s a smart thing that demonstrates the strengths of the creators here in the best ways.

This is a near perfect issue held back only by its erratic nature which some readers might have no problem with at all. Mayday is the comic book form of reading Nietzsche while shot-gunning beers and picking up prostitutes for sacrifice to some higher power. Don’t miss this.

Despite a few shining moments of real heart or hilarity, this experiment in world building and characterization falls mostly flat. It's interesting to see which characters or stories these writers and artists gravitate towards but in the end there's just no room to develop anything remotely intriguing.

A stunning, singularly horrific and impacting story that changes the trajectory of the whole series for the better. Under these creators, Miles Morales has become the Spider-Man story to watch for fans old and new alike.

Ultimately, I think the book as a way to go in terms of developing into a story with real pull, but all of the elements are so cohesive and finely tuned otherwise that I can't fault it too much. I'm still invested in Motor Crush, and I think you should be, too.

An entirely perfunctory issue, this is Mr. and Mrs. X at its unfortunate worst. The characters are still great, and the overall direction is worthy of praise, but the execution of the minor plotting is way off base.

This first issue is a dark, gritty book that toys with your emotions and perceptions. It’s well written and intriguing and, it shows no sign of stopping now as Guy heads down a dark, twisted and conspiracy-laden path with very real monsters waiting for him at the end.

It’s a book that relies heavily on a twist. Once that twist is revealed, the whole thing ends really abruptly. Less like cliffhanger and more like a road block but it’s got my attention enough to hold off til the next issue before I pass any real judgment on it.

No Mercy is a rough first outing, it's hard to tell what these creators were going for and it's hard to find many redeeming qualities when the book hits you over the head with its worst parts. If they reign it in, hone some stuff and focus on one specific direction, they might have a thrilling tale of survival and human nature but right now, it's nothing close to that.

With an immediate effect that these creators care about this world and the characters in it more than just cashing in on the "old man" craze, Old Man Quill succeeds in introducing a fun and frightening new paradigm for Peter Quill's kooky space-faring world, scars and all.

Outer Darkness' first issue is a pretty stellar, simple and effective debut that crosses genres with little issue and revels in compelling world building bolstered by a cool premise to great effect. Layman and Chan are both on top of their game in unique, fun ways here.

Past Aways is stronger in idea than it is in presence. As the story unfolds, it might become something worth picking up but right now? You might be better holding off unless you’re a devoted fan of these creators.

An average, if slightly disappointing first tie-in to Spider-Geddon proper, this is a fun but flighty feeling issue that misses the mark tonally despite offering some cool moments.

A great Spider-Man story that finds the right balance between fun and serious, Parker's place in the larger Spider-Geddon happenings feels cemented and sensible through this issue brought to life in equal measure through snappy writing and dynamic art.

A lackluster issue brings a painfully uneven Spider-Geddon tie-in miniseries to close in as similar a manner as it started, riding the line between self-serious and funny in a way that doesn't benefit the narrative or artistic effort in any way that would allow either the breathing room a good Spidey, or Peter Parker, story needs.

Ultimately, Plunder is a book that will either make itself or defeat itself. If these creators can pump out more of the smart writing and pacing with more horrors to see, it'll become a short story I can see myself coming back to. If the dialogue continues to be inconsistent and the art has brief moments of obvious misstep, though, then it's just another horror story in a big pool of them. They only have 3 issues to pull it off. But, right now, it's looking like they can do it.

As we move more and more into the real life events that Rasputin is known for, I’m confident that these creators can tell a moving and rewarding story so long as they hone the backstory or flash-forward elements even just a little bit more. History hasn’t been this fun for me in a long, long time.

This issue won’t sway you one way or the other on Rasputin and it shouldn’t have led into a hiatus but it has a couple surprises and will definitely keep readers that are already invested interested enough to pick it up when it returns.

This is a promising story with poor execution. I'm interested in seeing what happens but I can't help but think that Corben would've produced a better book if he had someone else he was working with on this.

This first issue is just a stepping stone but it’s a carefully crafted one. Everything we know about Seth and America and Britain and war and peace and violence and humanity from this first issue will be expanded in the coming ones, I have no doubt.

Ultimately, Wood and Mutti might not succeed in telling a perfectly cohesive and concise story. What they do incredibly well, however, is bringing this world to life in a way that none of us will ever be able to experience elsewhere.

Ultimately, it is a first issue with promise. The dialogue flows well, if coarse, and the art is appropriately coarse in return. The feel is significantly less Sci-Fi than readers may be expecting but a second issue may lead the series in a much more solid, interesting direction.

Redfork is a book that attempts to take the real world hurt and personal and globalized trauma that is affecting Appalachian communities in real-time and make it digestible through a layer of metaphor and literalism that succeeds in interesting, stimulating ways, unlike few other things I have read this year. However, it also stumbles into moral and depictional quandaries it is not prepared nor equipped to handle for the same reasons.

Rumble isn’t really here or there yet. It has interesting characters, fun and believable dialogue, dark and humorous elements and, a muddled plot. I wouldn’t jump on board just yet unless you have faith in these creators or are truly curious.

This is a good, complex and fun issue that introduces a lot of new and refreshing elements to the previously cryptic story. It’s Rumble’s best, by far. Different from the two previous issues in the right ways but still holding true to the tone established in those, it’s an issue that finally hints at what these creators are going for. If they keep it up this way, Rathraq may become a character people remember for a long time.

A poor narrative and fantastic art can exist separately from each other, and in comics they often do, but rarely do they do so to the degree that is present in the first issue of Savage Avengers. Where one almost wholly fails at introducing anything tangible or effective, the other is quite the opposite -- ferocious and immediately present. It remains to be seen if the two will more closely cohere in the future, and I am hopeful that they will, but for all its premise and posturing, this series has debuted with a bit of a yap more than a bark or bite.

Secret Identities #1 is a complex, refreshing issue that introduces us to age old ideas in a new way. It’s held back by being too large in scope but, the initial legwork is done. Now, it’s time to run with it.

Overall, it’s not as a strong of an issue as the first one mostly because the problems of the first issue are more severe here and the Crosswind story isn't really here or there yet. However, everything that was good about that initial issue is good here too, maybe even better. If you’re looking for less than conventional hero stories, try this. If you can’t handle a mosaic approach, wait until the book becomes more focused or decisive.

A Weapon Hex story focused on anything but, this Secret Warps continuation lacks any clear direction for character or personal stakes in service of larger plot beats that feel inconsequential. Disappointing, but not dismal.

A worthwhile read for fans of the source material that expounds on Sekiro's world without demystifying it.

Sack and Araujo leave you hanging in the void of space alongside the Surfer, begging for more, in the best of ways at the conclusion of this stunning cosmic story.

Like Alex and her sister, I want to haunt that icy moon of Titan and I want Cloonan et al to take me there.

Although this issue reads very much like an introductory one, it does so without the problems that a lot of introductory issues have. It finds a great middle ground between character-first plots and dialogue, and a tightly scripted serious overarching focus that offers up a lot to chew on with dark, dynamic art to boot.

The second Spider-Force issue attempts to fit its predecessor's format to its purposes but entirely misses the mark and offers up a muddled narrative buoyed only by dark, grisly, and compelling art ill-fitted to doing all the heavy lifting.

Faithfully, and with great affability, bringing the new Spider-Man from the PS4 game into the fray of the expanded Spider-verse is the one shining beacon here in an otherwise mess of an issue that should only be picked up by fans who are interested in following this story from beginning to end.

Spider-Geddon's first issue makes the positioning and mixed successes of all its prequel issues feel mostly worth it with a fun, dynamic, and somewhat flighty debut that promises seemingly spectacular things to come.

Full of good ideas but struggling to meet the demands of all of them at once, Spider-Geddon #2 feels like a necessary issue in terms of plotting and direction, but not necessarily a fun one to read.

Spider-Geddon's third issue starts settling into a nice -- and incredibly fun -- groove and makes a compelling case for shaking up the Spiderverse finally but it fails to really commit to all of its points, either in narrative or visuals, in a way that feels salient.

The penultimate Spider-Geddon issue is a largely surprising, equally fun and serious affair that revels in the best of what these big, interconnected events can be without relying too heavily on happened before and instead leaning into all the good to come. Gage and Molina feel completely in control in the best of ways now.

A perfect microcosm of the Spider-Geddon event itself, the final issue is strong in the opening and closing, but weak in the middle.

A slightly subdued and unfocused story that works best when it hones in on the central figures it spends too little time with, Spider-Girls #1 is a fun, warm debut with a lot of good that settles into a groove that could easily carry volumes worth of story by the end.

A slightly unfocused Spider-Girls finds strength in fantastic character voice and expression, but struggles with wanting to tie in too many threads, instead delivering on none of them in a compelling way despite great, crisp writing and funny, balanced art.

A saccharine Spider-Girls finale fits a dual purpose as a secret Renew Your Vows send-off and while it doesn't check all of the boxes in service to both Spider-Geddon tie-in and its own story, what's here is far and away enough for most.

A strong Spider-Geddon that does a lot subtly and effectively, honing in on the things that make Spider-Gwen unique and painting her place in this larger story very well with little fault.

The second issue of Ghost Spider is a real treat and assuming we pick up from here after Spider-Geddon, Gwen Stacy is in good hands with this team as they prove they can tell a story that speaks to not only who she is with the mask on, but also underneath it.

A fitting conclusion to Spider-Gwen's Spider-Geddon tie-ins as well as a fantastic solo story in its own right, the narrative and artistic efforts here work in perfect harmony to hit on both who Gwen is and everything she can be.

Well-crafted, refreshing, and emotionally resonant. But, a little too focused on an on-the-nose message, Spider-Gwen loses sight of the appeal and freedom of the Ghost-Spider moniker in the first real step out of Spider-Geddon.

Endeavoring to make a compelling case for a heel turn, further cementing the great threads of companionship, compassion, and care here, League of the Realms #2 instead relies on largely reductive, tired, and damaging tropes that don't advance the character dynamics in any necessary or earned ways.

All in all, this issue ends up being an experiment with diminished, but fascinating and worthwhile returns. The first story is flighty and frustrating, but also stylish and silly in a great, definitely intentional way while the latter is sobering in an unexpected but deserved and enriching way. I wouldn't recommend this to fans hot off Into the Spider-Verse, but those who like Spider-Ham because of the massive backstory and history of the character will find a lot to dig into here.

A fantastic, surprising issue that unites several disparate stories in an inventive and earnest way. This Peter Parker is complex, flawed, and fascinating and I wouldn't have it any other way. Truly one of the best Spider-Man stories of our time.

A fun, ultimately unimportant Spider-Man story that feels classic in execution and delivery, but fails to make any larger point with staying power.

Spread kind of feels like it’s treading water but also has a lot of elements that carry promise. They just need to be used to their true potential. Every issue, this one included, has felt like a set up for the next and it’s not really paying off yet. The enigmatic potential and energy is there, it just needs to be honed.

Sure, this comic is all the stronger if you’re familiar with Rebels but it’s a good read even if you’re not and, that’s an accomplishment worthy of note in and of itself.

The final Spider-Geddon prequel should assure readers that they're in good hands with Christos Gage who writes a compelling, smart, character-driven narrative full of fun twists and turns. However, the follow-up "Check In" story here doesn't fare as well.

Both the strengths and faults of the Superior Spider-Man title since spinning out of Spider-Geddon have never been more exposed than here in a fun, but somewhat content deficient Monster of the Week affair. Is it worth it? Ultimately, yes, but the momentum needs to pick up sooner than later.

A story as fascinatingly complex and impacting as Superior Spider-Man himself. This is a book with a lot of potential hitting its stride, and I couldn't be more excited to see where we go from here.

Thanos's first issue is an intriguing, exciting first one. It bucks the trend of comics that conveniently tie-in to movie releases but don't have much else to say and instead delivers a nuanced, brooding narrative that I can see developing extraordinarily. It remains to be seen if the art will meet the same par, but that shouldn't hold you back from taking a look.

I would've told you just weeks ago that a Thanos story on the heels of Endgame would have little to do or say, but these creators make it feel vital and worthwhile. If they can marry the two extremely compelling angles touched on in as many issues with the next, this will stand among the best cosmic character work ever done.

Thanos' third issue a compelling character work, and a lackluster one mechanically speaking. The thematic elements at play are more than enough to keep me engaged for the foreseeable future, but the minute plotting could be much more sound.

Maybe it’s a commentary on some dark primal fear of extinction forcing literal fight or flight tactics. A Van-Helsing-esque self-preservation. Maybe it’s just a horror one shot. Whatever its themes, messages, meanings may be, the issue is a good one. Short, straight to the point and expertly done. A good pickup for those interested in the genre being done right.

The Empty simply has too much of an unpolished feel right now for me to suggest you pick it up just yet. I will say however, that with Image's track record as of late, I wouldn't write it off completely.

This is a book with a lot of potential that’s executed quite well by these creators. I’m not convinced that we’re going to get a fully fleshed out story here in only 4 issues but, I have the utmost faith in Pires as a creator and, Rubin is an equally exceptional artist that makes me believe they may just pull it off.

The Forevers remains a careful balance of elements, this third issue a contemplative, robust and emotionally complex, original and wonderfully referential issue – mixing elements of the real and the fiction in a worthwhile way. There’s room for improvement, but the issue stands strong and I’m more than ready to watch the Forevers, their magic given lives at risk, perhaps not live up to the moniker in more issues to come.

This book, more and more, is about the brutality of man and the trials he must face for being so brutal. However, it's also about redemption. Everything is on the wheel, it seems.

This comic isn't about trucks as much as it tries to make you think it is sometimes. They're simply the vehicle of a bigger story. That story is one of intrigue, mystery, frustration, brokenness and violence. Yes, sometimes it's a little over the top but, if you haven't read any of this book yet, I suggest you pick up the 1-4 pack on DH's website as well as this new issue available digitally today. If you're already on board, I'll see you next month because after this set up, I'm sure you're not going anywhere.

This is, in my eyes, a perfect issue. Get out of the way, wait for the boom.

I’ve never re-read a comic as soon as I was finished with it before. This time I did.

It’s a tongue-in-cheek thing. It’s the dial that goes all the way to eleven. It’s the perfect send-off for a book that was always about way more than trucks. It’s also damn near the closest thing this industry should have as a golden standard for blockbuster, action comics making with a real, oily and nitrous heart at the center.

Both as a follow up to its more compelling predecessor, and as a single issue, the second issue of The New World doesn't feel all that new or interesting, but there are elements that inspire hope for a return to form.

Darrow’s art speaks for itself in the visually stunning return to Shaolin Cowboy. Unfortunately, the writing and over-the-top social commentary don’t keep up the pace – instead offering more than their fair share of eye-rolling and that’s a shame. Stay for the art, leave the words to the side, thinking of them merely as a means to an end and you’ll find a lot to enjoy here.

Darrow’s art speaks for itself in the visually stunning return to Shaolin Cowboy. Unfortunately, the writing and over-the-top social commentary don’t keep up the pace – instead offering more than their fair share of eye-rolling and that’s a shame. Stay for the art, leave the words to the side, thinking of them merely as a means to an end and you’ll find a lot to enjoy here.

The Surface is built on an interesting idea, it just needs some room to breathe and hone in because right now it’s a massive undertaking to even see if you’re interested.

The Tomorrows is retro, smart, brightly colored and unrepentantly fun look at a dystopia unlike any other in comics right now. There's some stuff that you've seen or heard before but, the stuff that's new is so wonderfully inspired and smart that you can look past the bluntness with ease. I have no idea where it's going but, a book that talks about Bowie, Warhol and has laser powered motorcycles can only be going somewhere good. Especially so, under the direction of creators that operate on a truly different level than most working now.

The Tomorrows, even in lighter issues like this, is something different. Something equal parts homage and unique. Pires knows what he's doing and seeing all of these issues and their varying art collected together will really be something special. For now, though, enjoy the ride. I am.

That's what this book is, really. A series of looks, through different lenses, at our world a few years from now, at the repercussions of our current course, and a call to arms. Pires, MacLean and others have done something really special here that won't make any sense without the issues before it, but also makes perfect sense completely on its own. It's an anomaly, one you have to read for yourself but one I enjoyed very much.

The issue is at its best when it conveys the thoughts and motivations of that avatar, a not-entirely-impartial watcher in Hellboy’s tale, and it spends too much time and visual choreography on parts of the Hellboy story that we have already seen but on the whole, this is a good issue written almost exclusively for fans of Mignola’s work, who I think should be very happy with, and intrigued by, this offering. Others might be missing crucial details to make real sense of this issue, a conceit that I think the issue takes in stride, but in the end it's not really written for them. It's as Hellboy as a Hellboy comic can be, another layer to a layered universe and one that, unlike some other recent excerpts from Hellboy's life and story, I think really adds something of value, as mysterious as it still is.

Overall, a very strong issue that establishes a real connection to our observer and offers a good, if obvious, meditation on the world he finds himself in.

This is as simple as an issue can get, it doesn’t detract from the world or the character but it doesn’t add much either and that’s kind of a shame.

Offering little nothing outside of introduction of its admittedly compelling core premise, this first issue of The Warning is featureless and off-putting. It's not particularly offensive or inoffensive, and that's the very problem with it.

This is in no way a good introduction to The Witcher series but that’s not its intent. It’s a good, if somewhat hollow, book that expands Geralt’s story without taking away from his character or making leaps that the games wouldn’t. I have no large complaints here and I would be hard pressed to see why any other fan would either.

The first issue of the Typhoid Fever story line touches on interesting ideas but fails to follow up on them, instead doubling down on a misguided attempt at emulating madness that feels equally maddening to read.

There’s something here but right now, it’s less than interesting. If you’re committed to the creative team behind this book or you have a genuine interest in full, unrepentant character building this early on, I would suggest you pick it up. If you’re looking for a high octane X-Files, Ex Machinia type thing, you might want to wait and see how other issues turn out.

This is not a particularly compelling first issue. It has good moments, narration and art included, but has bad in equal measure with the narrative lacking a clear sense of direction or tone. I don’t think I’ll be visiting L.A. with Vampirella again but dedicated readers might find something to latch onto.

This first offering from the Vault of Spiders has some exceptionally cool moments but they're few and far between and everything else pales in comparison, leaving the whole affair feeling not necessarily lacking but definitely underdeveloped.

Vault of Spiders' second issue fails to offer up any truly compelling ideas or execution in a smattering of stories that largely lack character and direction save for a wonderful take on Aunt May that feels inconsequential but heartwarming.

Fun, free and unsurprisingly quick-witted, the McElroys' first Marvel outing is a great comic in its own right, embellishing hilariously and surprisingly on its great premise almost effortlessly.

I have no idea where they’re headed but, neither do they, and that’s what’s keeping this book so genuine and interesting. Realism filtered through ink and color.

A mostly perfunctory re-tread, Cult of Carnage is well-executed and somewhat surprising in its aesthetic predilections, but it fails to really deliver any innovating ideas in a time when Symbiote stories feel demanding and vital.

An interesting, complex, and seriously scary issue that ultimately focuses too much on the past to give its best, and new, ideas the breathing room they need.

The first of the Web of Venom one shots is a compelling, dark origin story of sorts that serves its purpose but lacks some of the kinetic and cohesive energy of its parent series.

A transitory issue that does little more than get pieces into place for what continues to feel like great things to come, this is the weakest entry in Tynion IV's Justice League Dark/Witching Hour story thus far -- but it still has some compelling energy.

A tipping point for the "Witching Hour" story, this is a total triumph of an issue that doesn't entirely dismiss all of the frustrations of previous missteps but does successfully pick up their strengths and carry us into something truly incredible for both reader and character.

While not as bombastic a follow-up as readers might have expected coming out of the stunning Justice League Dark #3, The Witching Hour's first issue is a darkly enchanting, capable, and palpable affair that ups the ante well enough to keep us interested in what comes next.

A saccharine, somber conclusion to these character's stories (for now) moves their lives forward in a fitting, but aching way that feels earned and authentic. It's some of the best character-centric writing around, and few other heroic books get family this right.

The original X-Force re-debuts in a frenetic and funny story that might need a little more time to develop a real direction but entertains in the interim.

The second issue of X-Force sets up the stakes much better than its predecessor, but loses sight of characterization in the process . So far, there's a lot to love in small bursts but a re-tune of the core components of this book may be necessary sooner than later.