Spencer Perry Comic Reviews

Writer Rick Remender and artist Andr Lima Arajo have crafted one of the best first issues of the year with A Righteous Thirst for Vengeance #1.

The intrigue that Rick Remender laced in his first issue of A Righteous Thirst for Vengeance is built up and out in the follow-up, giving us enough answers to clear the picture up but offering even more mysteries that the plot continues to feel fresh.

This is a masterclass in comic book storytelling so far.

You have got to be reading this series if you like comics.

Fans of crime dramas like Breaking Bad that need their itch scratch should look no further than this dynamite series.

Rick Remender and Andr Lima Arajo's series remains a near-perfect exercise in comic book storytelling.

You could teach courses on the mastery Remender and Arajo give us in this series.

Rick Remender & Andr Lima Arajo's series gives readers a surprising respite in this issue where almost nothing bad happens.

A Righteous Thirst for Vengeance is a gift.

A Righteous Thirst for Vengeance is a must read for all comic book fans.

The ongoing Alien comics from Marvel have been hit or miss, but Alien: Black, White & Blood hits the ground running with major swings.

This is a must own for all Spider-Man fans.

Though readers quickly learn that the first pages aren't exactly what they seem, they do lead into the parts of Becoming that work best, Jackson Hyde's relationship with those around him.

The Becoming #2 is perhaps light on its titular hero than some might desire but it makes up for it with an engaging structure that keeps you guessing.

Aquaman: The Becoming is a clear team effort as writer Brandon Thomas, penciler Scott Koblish, inker Wade Von Grawbadger, and colorists Adriano Lucas & Alex Guimares all work in tandem to bring this ambitious and fun series to life.

With Big Girls #1 Howard has made a point to deliver a world that feels fresh while also flipping the script on comic characteristics, and making sure to paint an explicitly political stance.

Take a chance on Big Girls folks, it's got something to say.

One image in particular gives the reader a better idea of how this world looks from Ember's POV but also underlines her emotions in the moment. Masterful work continues to be on display here.

. Even readers that haven't been along for the ride will find soulfulness in the storytelling here, but those that have walked the road from the beginning will be excited about its last turns.

It's no surprise that Canto is building toward a major conclusion, but the second issue confirms the massive canvas that the team has created for the story.

This is classic comic book storytelling at its finest, with art and words working in tandem to create a spellbinding action set piece that keeps the pages turning and the reader with the ultimate feeling on its final panel: What happens next?

An out and out war comic, the book fits right in with the Baltimore titles while artist Peter Bergting brings this insane combination of soldiers and witches to life.

This trio are onto something special.

Dead Seas possesses a cinematic narrative with a breakneck pace and some of the most unique visuals on the stands.

Readers will see this ending for what it is, a celebration that keeps things set for the next writer, and this may be one of the better versions of that in years.

To bad mouth any recent work with Doctor Strange would be doing a disservice to the writers making recent attempts under the banner, but Tradd Moore's work in Doctor Strange: Fall Sunrise already feels like the pinnacle of what an artist can do with a character that hasn't felt fresh in years.

Tradd Moore's ambitious Doctor Strange series continues to be impressive, if not perhaps filling itself with a little too much.

The character of Doctor Strange has not had his potential explored to this degree, and his boundaries pushed, since Steve Ditko created the guy.

This is a profound piece of comic book storytelling and the must-read Marvel Comics title of 2023.

Mike Carey crafts a Fantastic Four tale that feels entirely new and also so classically ingrained in the characters that you'll wonder when it was first published.

The final issue of Fishflies checks all of the boxes you could want from a Lemire story with unique imagery and a melancholic narrative that all wrap up with just a hint of optimism.

New Superman writer Phillip Kennedy Johnson once again proves that his taking over the two main books for the Man of Steel was a tremendous decision on the part of DC Comics, delivering one of the best epilogues to the entire legacy of the character that's been printed.

Writer Phillip Kennedy Johnson's take on a post-Superman world is an intriguing meta-examination of the DC hero and what he means.

In a word, it's spellbinding.

A perfect blend of team-spy films and giant monsters, this is an easy comic for newcomers to read and one that long-time fans will find incredibly fresh.

Mike Mignola has crafted a story that lovingly pays tribute to classic monster movies and 70s espionage action, while also featuring some amazing connectivity to his own franchise.

Giant Robot Hellboy is both a can't miss story for longtime fans and a total blast for newcomers too.

Thorogood proves that she can play in someone else's sandbox while still maintaining her own storytelling sensibilities, and frankly she brings an energy that a stale franchise like this needed.

Hack/Slash as a franchise has never felt more fresh than it does here.

Hack/Slash: Back to School is both gorgeous and disgusting, something that can be found in longer expository sequences and explosive action beats.

Harrower's first issue was already an impressive start for the series but issue #2 is just as good. Run, do not walk, to pick this up if you're a slasher fan.

Once again, writer Justin Jordan and artist Brahm Revel show off just how well they understand the genre they're playing in and how easily they can subvert your expectations

Horror fans will be talking about this one for years, and it's the kind of comic that readers will get to delight in as an easy recommendation forever.

Hellboy and the B.P.R.D.: Night of the Cyclops is one of the best new stories featuring the character in some time, channeling the best aspects of early Mignola work and adding a new flair to the franchise that makes it unique and memorable.

Hughes does a tremendous job bringing Big Red to life while also breathing real life into Mignola's monsters. Really the only trouble is that this didn't come out sooner so you could read it on Halloween.

Smith is able to imbue his own style with the same sensibilities that drive Mignola's own art style, giving this a visual consistency that lets it sit along classic Hellboy titles.

Tremendous work all around.

What makes Bones of Giants so remarkable is not only how seamless it fits into the larger publishing line for the character but how welcoming it is to newcomers too, giving readers with no concept of the larger mythos a great entry point into the universe.

Batman: The Smile Killer follows suit, picking up the reins where that series ended in a fashion, but this issue is able to capitalize on the ideas of its predecessor in a more interesting fashion to greater effect.

Mike Mignola and Ben Stenbeck are largely an unbeatable team when they collaborate and Koshchei in Hell continues that tradition.

This final issue wraps up probably a decade of stories in the Hellboy universe, perhaps finally bringing closure to multiple characters in this universe and doing it without lifting a single weapon.

Even with no frame of reference for Baltimore, Lady Baltimore is a comic you need to consider as it hits all the right notes and plays them with finesse.

Mike Mignola and Christopher Golden's new spin-off of their Outerverse series continues to impress, delivering another knockout issue of what's already an outstanding new comic.

Writers Mike Mignola and Christopher Golden continue to carve an amazing new path in their Outerverse world of comics, offering a rewarding read for longtime fans but still making it accessible to those that may have just started their journey.

Always accessible, always relatable, always in peril.

Saladin Ahmed continues to hit home runs with his take on Miles Morales: Spider-Man and the latest issue is nothing short of genius understanding of the character.

Ahmed uses this issue to prove that his work with Miles isn't limited to just reflection and personal meditations, where he excels, but that he can also develop a kick-ass action concept.

Artist Jesse Lonergan brings a style and uniqueness that feels right at home alongside Mignola and his other collaborators, already standing head and shoulders above some of the other prequel stories. In short, this is the best original Hellboy spinoff in years.

Mike Mignola continues the most exciting new chapter in Hellboy lore in years with revelations that will stun longtime readers, piecing together huge elements of lore.

Though fans with a knack for lore will find this one irresistible from that perspective, it's Lonergan's style as an artist that will cement this one's place in the Hellboy history books, it's that good.

Even without its connectivity to Hellboy, this is already a new classic comic to recommend to fellow readers.

Writers Christopher Golden and Tim Lebbon have a real gem on their hands with Mortal Terror, a new must-read for classic horror fans.

Christopher Golden and Tim Lebbon's wildly unique take on Dracula continues to impress, especially as it delves even further from the source material and forces itself to bend into new shapes and strive for new storylines.

The storytelling is top-notch in this issue, setting the stage for something really interesting moving forward and filling a void in comics that few other noir storytellers are managing to publish.

It's hard to juggle dual narratives in a story, especially when they're as radically different as the two found here, but Our Bones Dust manages to handle both and make their distinct natures work in tandem.

Stenbeck has been a master at staging throughout his comics career and while he continues to show off that he's nearly unmatched in that department Our Bones Dust #2 also confirms that he can reveal character details visually too.

Ben Stenbeck's work on Our Bones Dust has been stellar from the start and issue #3 confirms that his ability as a master of action and staging in comics is unparalleled.

Our Bones Dust is an epic that manages to combine post-apocalyptic grit with high-science fiction optimism, a pairing that shouldn't work but feels like watching magic unfold in front of you.

The new Phoenix series continues to impress by not only fully embracing the bugnuts potential at its disposal.

Longtime viewers will be excited to see not only the care put into adapting that storytelling style into a new medium but also filling it with plenty of winks, nods, and Easter eggs along the way.

Bertram's artwork is like a primal scream that has taken form, delivering shapes and lines in one splash page that outpace some entire comics.

Those hoping for an easy-breezy tale may find themselves lost by the swath of unique vocabulary and environments in Precious Metal but it's a rewarding series for readers eager to get lost in its dense narrative.

Imagine a road trip where every stop is an episode of Black Mirror and you've got this new version of Rai, a new classic in the making.

The same way that Dan Abnett and Juan Jose Ryp's series does not beat around the bush, I won't do it either. I love this comic.

Ryp once again knocks it out of the park, making the extensive expository moments feel just as full of life as the action bits.

If you're in the market for a new obsession with little continuity baggage and a guaranteed good time, Rai will knock your socks off.

Once again, Dan Abnett and Juan Jose Ryp have hit a home run.

Graham's tremendous artwork is hypnotic throughout, as he examines the micro and macro of life that feels uniquely distant and all too familiar.

Taking a page from Immortal Hulk and the spooky Archie books, writer Frank Tieri and artists Angel Unzueta and Guillermo Sanna have crafted a unique and necessary story for Marvel comics.

Saga #72 has positioned itself as a unique turning point for the series, not only in how it has concluded this specific arc (one could argue it didn't fully gel at times) but in how it frames the final 36 issues of the series (Vaughan's letter column says they're still aiming for 108 total). The series has always lived up to the hype that it had behind it, but with this specific tale Saga has cemented its place as fully embodying its name. Now all we have is the wait once again, and the questions about what comes next will keep us afloat while we wait for what comes next.

It's a testament to how these books are written and put together that they're as accessible and engaging as they are even 300 issues deep.

When the new Strange series began it seemed like it was going to be just a bridge between new Doctor Strange comics, one that filled a gap between publishing initiatives. Writer Jed MacKay and artist Marcelo Ferreira have taken that building block and built it up even more though, creating what's a unique new take on the larger idea of magic in the Marvel Universe.

Strange #10 sees artist Marcelo Ferreira not only knock it out of the park by virtue of his paneling and action beats, but working alongside inker Roberto Poggi and colorist Java Tartaglia to create one of the best fights I've ever seen.

The way you know that this series is a fun read is that even its slower, dialogue heavy moments are still a treat. You have to read this book if you're looking for something fresh in the DCU.

The new Suicide Squad written by Tom Taylor continues to impress, managing to fold in familiar faces in exciting ways that continue to push the plot forward and enhance its new roster of expendables.

You need to be reading this series, it's grand.

If this was a wholly original story Hollywood would be in a bidding war over adapting it into a movie.

Fans of Star Wars and Dune should take note of this series.

What is astonishing about Tartarus #8 is that the storytelling is so tight, the premise so fully realized by its creators, that even though it has a complicated place in the web of the entire series it could be read by a newcomer and fully understood.

Writer Zac Thompson and artist Eoin Marron have crafted a terrifying vision of a new horror comic series here, creating layers of narrative that are already ripe for exploration.

Eoin Marron's artwork, with colors by Mark Englert, also builds upon the previous tale and evolves along with the prose while also still managing to keep a creepy air about it, even during the daylight scenes.

I would not recommend newcomers immediately dive into The Power Fantasy #6, since it is built on five very important issues with a lot of added context and insight, there's something amazing about the storytelling fluidity and how it gentle glided me back into this world. Where this series has always succeeded are the places that it continues to excel, it's a layered and nuanced story that brings superhero comics to a level that they haven't ever existed. Though every major publisher is finding success with reworks of their most famous characters right now, none of them are quite hitting like The Power Fantasy.

Even if you've never seen the movie or read every page of The Rocketeer before, the new series The Rocketeer: In the Den of Thieves is one that has something for you.

This is maybe the best issue yet of Ultimate Black Panther, and Caselli's artwork, featuring colors by David Curiel, is a major selling point.

I think two things are true about modern Marvel Comics more than almost anything else: 1. When the company allows Jonathan Hickman to carry out his plans unabated, more often than not he's going to deliver something that will stand the test of time and 2. Marvel Comics as a publishing entity are in their best possible position when Spider-Man comics are most accessible to readers. All due respect to the many writers that have put their stamp on the character over the past two decades, but when the Webslinger is easy for anyone to pick up and readto enjoy without the frills of anything else in the lineMarvel thrives creatively. Jonathan Hickman and Marco Checchetto have given Marvel the chance to let both of these things be true at the same time in Ultimate Spider-Man #1; so please Marvel, for the sake of your readers and your characters, let them cook.

After the masterful first issue the bar is high for Ultimate Spider-Man, and luckily writer Jonathan Hickman and artist Marco Checchetto prove that it wasn't a fluke of the premiere and their take on the material has legs.

Ultimate Spider-Man reaffirms there's a way to restart a major hero's continuity and make it feel fresh, modern, and not beholden to decades of canon.

In case it wasn't clear that the new Ultimate Spider-Man comic is a clinic in storytelling, writer Jonathan Hickman has no action in issue #4 and instead uses it for two sequences that are exclusively dialogue. It's captivating from the first panel and the foundation of these characters that he's developing remains all-timer stuff.

It's frankly not fair to the rest of the comic book world that Ultimate Spider-Man is this good.

This is proof that you can make a story in a major universe with an A-list character and just do your thing, and it can be both rewarding and the readership will flock to it.

The day that the new Ultimate Spider-Man isn't the best comic book we're reading every month will be when you should take notice, but for now it's still at the top.

Ultimate Spider-Man is the king of Marvel Comics right now. Long live the king.

Ultimate Spider-Man has been THE comic for a time, and it would have been easy to predict that over a year later it might have fallen off. But what's clear is that Jonathan Hickman is still as confident about his material and clear on its direction as he was in issue one. The strength of this series is that it's making us reconsider our own preconceived notions and challenging the status quo of a major superhero's story, and that's something Marvel comics have been incapable of for some time.

A must read by an artist that has hit a homerun.

Writer Al Ewing and artist Juan Ferreyra deliver another knockout issue of Venom, which makes you not only forget that it's a tie-in to a big event but rewards the reader for realizing by story's end this was also a building block to something else.

The unbearable weight of coolness that X-O Manowar Unconquered manages to shoulder is what makes it such an enjoyable read. It's like a heavy metal album was given life, purpose, and a desire to riot.

Writers Becky Cloonan and Michael W. Conrad also continue to push the ideas of the character and his world in unique new ways, giving it an awe-inspiring galactic scale.

You will not find anything like this coming out of a modern movie studio because there is an unmatched level of power in these pages, and a deranged acknowledgment between creator and reader that this is a story eager to break free from its panels and into your imagination, where it will only blossom further.

I was really surprised by this book. I'll admit that I wasn't all that excited for it in the beginning and I'm all turned around. FF is one of the most interesting and well-written comics to come out of Marvel NOW! and you should be reading it.

Guardians of the Galaxy #1 offers a great jumping on point for interested fans and its ensemble cast of characters, with one of the best writers in the business putting words in their mouths, will keep you grinning from ear to ear while reading it. It's gorgeous, well plotted, captivating, and one of the best comics I've read this year.

Justice League of America has quickly jumped to the top of my read pile every week. Johns' signature writing style will keep it interesting for as long as he remains on it and he's setting up enough potential stories for the future that the well won't be going dry anytime soon. Plus, he's at his best when he's writing ensembles of characters and the cast here doesn't get as much love as they should.

Arajo's artwork remains solid across the board though, filling in yet another mysterious new corner of the series that is ripe for further exploration, even if we never get it.

It's a stellar storyline and one that makes this a must-read series.

Once again, writer Tony Fleecs and artist Justin Greenwood continue to defy the odds and deliver an Army of Darkness comic that not only fully embodies the spirit of the original movie and its dynamic but also has its own identity.

Hickman is starting off his run on Avengers strong. While he takes a less is more apporach in the writing and a bigger is better in terms of the cast, they both have their advantages and work in favor of each other. Opea's art is the main selling point though, because it is without question the best artwork from Marvel NOW! If you want to get into the Avengers, you need look no further than this and it helps that it's a great read.

This is more then just a superhero comic. This is a tale of a father and son at odds with each other, an age old premise that's been done a million times over but not with this kind of spark. Batman and Robin are one of the most iconic pairs that have ever existed in American culture and while this story respects that, it takes them, simply put, beyond it. We've seen Bruce acting in a parental role for the previous Robins before yes, but here his real parenting skills are put to the test. If you've had your appetite whet by Scott Snyder's Batman comic and need more, buy this. I couldn't put this down when I was reading it and it made me very upset that I hadn't been picking up the issues of it from the start of the reboot. Batman and Robin rules the night.

While the comic is sometimes wordy and the first few pages of set up seem to drag Batman: Death By Design is a really good read. It has all the components that many would consider vital to a good Batman tale and its art is top notch. I'm hoping in a year or two we can get a good follow up to this. I like seeing 40s Batman with modern influence.

If Before Watchmen: Minutemen is representative of the quality of work that we will be getting from the rest of the series, then consider me signed up. If not, then at least we'll be getting a quality Minutemen comic. Do you consider yourself a fan of Watchmen? Ever wonder what life was like for the original heroes? This is the series for you and not just because you like the original or the characters, because it's a good comic.

Before Watchmen: Rorschach is one of the best first issues of the entire run, and with next week's Dr. Manhattan series being the last to debut, it will be a while before you read anything on SuperHeroHype about the prequel series, but rest assured we've got more to say. While you wait though, go read this Rorschach book, it's damn good.

The first two issues of Canto's final cycle have been battle centric, but now with that big moment passed in the narrative the series finds its footing in a slower-paced issue that keeps the strong storytelling going.

As is typically the case, your mileage may vary with Bendis' brand of humor but since story features a lot of characters he hasn't put his mark on in a big way it's fun to see this time around.

It would be easy to think with the length and messiness of the Dark Nights story that there would be one shot that could encapsulate so much of the narrative into a digestible state and also be a primer for a fan-favorite character's place in it, but Dark Nights: Death Metal The Secret Origin #1 does all of that.

Rob Guillory's wild horror series continues with the kind of hilarious yet horrifying tone that only he's capable of pulling off.

Batman: Earth One is one of the most worthwhile original graphic novels I've come across in a long time. It's puzzling that it took so long for this to come out because it offers a fresh and energetic take on the age old story that so many others have long copied and watered down. Geoff Johns is truly a master story teller and I wish he did more Batman-oriented books, but we can always wait for Volume 2.

There aren't many misses in the pantheon of Hellboy comics, but Frankenstein: New World seems poised to become the best story since B.P.R.D.: The Devil You Know concluded.

Zoe Thorogood sticks the landing in a big way with Hack/Slash: Back to School, ending the story on a note that cements its place into the canon without undoing anything else before or after it.

Quickly hearkening to the likes of Halloween and Friday the 13th, Revel's artwork not only doesn't shy away from the gruesome nature of such killer-fueled excursions, but most importantly captures the look of the town and place where these things happen.

Artist Gabriel Hernndez Walta makes their presence known in a big way with the one-shot as well, bringing a flair to their art that gives this entire story a pulpy texture.

Campbells artwork, bolstered by Dave Stewart's colors, make this a must read for franchise fans but the blueprint of how Mignola's writing unfolds leaves no room for surprises.

Long-time Hellboy readers know that the "Beast of the Apocalypse" has dabbled in romance a handful of times but his flings were brief, albeit powerful. With their new series, Hellboy in Love, the powers that be in the franchise have decided to explore the idea with a little more nuance, plus it finally gives those with the hots for monsters some representation in another mainstream comic book series.

Artist Matt Smith continues his domination of Hellboy universe artwork, delivering a style that feels both fresh and so similar to Mignola's own work that it feels quintessentially "Hellboy."

This Hellboy series continues to live-up to the promise of everything you want out of a story in this world, and it helps that it was one previously written as a prose piece, but the heavy explaining of Mike Mignola & Christopher Golden's narrative does weigh down parts of this one as the exposition is needed.

Journey Into Mystery is the kind of thing Marvel wanted with their 'Point One' campaign many years ago, an accessible story in an already established series that can draw in new readers. This is the kind of comic that stands out from the rest of their comics both because of it's content and it's female protagonist. This could quickly become one of my favorite comics Marvel is currently making.

In the final issue of Know Your Station, writer Sarah Gailey not only manages to make the big reveal of its mystery impactful but walks such a fine tight-rope act in the explanation by making sure it doesn't feel cheap or derivative.

This issue is a must read for fans of this storytelling world too, even if the series as a whole is not to be missed, but all the threads come together for a rewarding read for everyone keeping up with the Outerverse.

A larger narrative thread keeps this one from being perfect, and a bite confusing, but Connell's visuals make it all worth it.

A celebration for all things classic Marvel, Marvel Age #1000 presents a series of back-to-basics style stories that will remind you why you love some of these characters so much.

While the larger Amazing Spider-Man title has become nearly inaccessible in recent years, Ahmed's ability to make Miles relatable, fun, and humble is why this comic continues to be a tremendous read.

New readers might largely be lost about the plot but long-time readers will find this very rewarding.

Ahmed's work with the character has proven that he has tremendous grasp on Morales as a character, this will be where he gets to show he should be Marvel's next big thing.

Beautiful layouts and stunning double spreads make this one of the most beautiful comics of the year to look at, and one whose action beats are never predictable.

If you're already on the United States of Murder Inc. train, this latest issue from Brian Michael Bendis and Michael Avon Oeming is what you expect in every regard, which is to say good.

Color artist Ronda Pattison is able to capture mood and tone with their contributions to the series, elevating the already unique style of Artyom Topilin and making this a delight to read on the whole.

Is it entirely clear at all times what exactly is going on in Precious Metal #3? Not really, which may certainly turn off some viewers, but when I became confused I simply allowed the vibes of the series to carry me.

In the end it's a great end point for this one and I'll be eager to see what happens next, the best you can ask for with a monthly book.

It's quite obvious from the cover art, the title design, and the team's roster that this comic is catering toward the film audience, but that doesn't mean it's trying to pander to an unfamiliar crowd. Secret Avengers is a wild ride that will keep you guessing from start to finish. Spencer has a clear grasp on his team and how they react to almost anything, and it sticks out from everything else Marvel is doing because it's no generic superhero comic. If you like your Marvel characters well written and drawn with a piping cup of espionage thriller, this is the comic for you.

With Acheron Mignola is tying together countless threads from his entire Hellboy/BPRD storylines, delivering an epilogue that reveals there is still life in a world that seemed like it had concluded.

Ferreira taps into the aesthetic qualities fans expect from magical depictions across splash pages, giving this series its best issue yet.

Jed MacKay's Strange has been a fun building block toward the next chapter of the character in the Marvel Universe, but Strange #9 proves that this dynamic between Stephen and Clea is one that shouldn't end.

Thanos Rising is a rich comic. There's more material to chew on and discuss than a lot of comics ever hope to achieve. Aaron is a masterful character writer and even though the art isn't at its peak in some areas, Simone Bianchi still does a great job. I'm confident, that when completed, Thanos Rising will be a modern classic.

Writer Jeff Lemire also finds the steady balance of making the story work with its extensive cast by doing what perhaps should have been the case from the beginning, a finer POV.

Horror fans have a great one to catch up with if they haven't made the trip to the House.

I was surprised to find a lot of restraint in this debut issue. There are really good ideas that Aaron and Ribic execute perfectly with little flack. Thor: God of Thunder is doing what every Marvel NOW! book should and that's redefine the character while staying true to what people love about them. This is already one of my favorites from the relaunch.

Charm has cracked fun characters that are fastened into a plot with unlimited potential, and paneling that clearly defines his narrative, plus color that pops with each page. This is a must read for anyone after a unique horror style and a purely fun read.

This continues to be a special book.

Never let it be said that Al Ewing doesn't swing for the fences with his ideas and surprises.

This is the sort of galaxy-brained Venom story that makes the character stand apart.

Despite the necessity of the first issue's origin story podling, Witchblade #2 is the real starting point, and it's awesome.

Young Avengers is at a disadvantage before it even got published, though. Part of the reason for Marvel NOW! is to create good jumping on points for new readers, but how many of them are going to willingly try a team of heroes they've never heard of? If I fancied a guess, not many, but what do I know. If you're reading this, consider yourself a new reader, and want to start reading quality comics and not just comics with your favorite hero in them. Young Avengers is as good a place as any to start. It has a good ensemble of characters, a wonderful message, and great artwork.

Though the first Young Hellboy series was a fun little romp, Assault on Castle Death is already proving itself to be superior, digging deeper into Hellboy lore while also maintaining a unique visual stint.

Where this comic gets it right is in the character himself. The action scenes look fun, but they don't hold a candle to the rest of the comic. Captain America #1 does what the best of the Marvel NOW! comics are doing, it's trying to tell it's own story without worrying about tying into every other series or appealing to the casual fan with cameos.

Now since I'm not the best scholar for Deadpool in the world, I could be in a minority here, but I think this is the best way to take the character and reintroduce him to the world. Many will lament at the changes to the character, whose inner monologues are notably absent here, but why say in three speech bubbles what you can say in one? This was definitely added to my pull sheet today, I drank the kool-aid.

New Avengers is a wicked cool comic. It's got a really solid story, a fantastic cast, and some of the best art we've seen from the Marvel NOW! relaunch. The only fault in it is the selected style of storytelling which no longer feels like a unique perspective to start a 'Super team' story. In short, it's a great addition to the rest of the titles.

Savage Wolverine is one of the most uniquely written comics to come out of Marvel in a while. Its story is entertaining on many levels and it has artwork that is gorgeous and nearly perfect. A few story issues and art discrepancies hold this back from being a perfect debut, but it's a solid start for what could be a great run.

Packing the punch of a great Stephen King short-story, scribe Cullen Bunn has delivered a one shot that will get under your skin.

Writer Declan Shalvey is quick to establish these new characters in a satisfying way, making this feel totally new from any other recent Alien comic series.

Alien: Black, White, & Blood continues to prove that the anthology format best suits this franchise when it comes to comics.

The ongoing story in the pages of Alien: Black, White, and Blood from writers Collin Kelly & Jackson Lanzing and artist Michael Dowling remains its most interesting as it explores a side of storytelling this franchise would never dare even attempt in live-action, a bold and deeply political allegory that feels fresh and frightening.

The Alien: Black, White & Blood anthology concludes with another set of unique chapters for the franchise.

Writer Brandon Thomas pulls off a tremendous feat with Aquaman: The Becoming #4, making an issue light on action and heavy on character background and an extensive dialogue exchange compelling and fun to read.

The cover for the series now bears a strip at the top calling it a "Prelude to Aquaman," and though to this point Aquaman: The Becoming has been strong enough that simply labeling it as precursor to the next thing would feel reductive, this issue does lean heavy on set-up.

Fans of Zack Snyder's Justice League should keep an eye on this one though as it brings a key piece of his version of Aquaman into the mythos, setting up the all-new series that promises to be a must-read for the two characters.

Though Army of Darkness Forever continues to forge a path ahead that stands apart from the droves of Army of Darkness comics published by Dynamite, there's not quite enough structure in the storytelling for this to be a perfect grade; but it's still a hoot to read.

Army of Darkness Forever remains one of the most interesting takes on the material in the vast history of the title's existence in comics.

When it's all said and done this might be the most creative Army of Darkness comic ever.

Tony Fleecs continues to pave an amazing path forward for Army of Darkness comics, revealing that there is still life to be found in the franchise.

The first issue of Avengers Arena is solid. If you think that you won't be able to read it due to your sworn allegiance to The Hunger Games or Battle Royale you should take a deep breath, put that aside, and pick it up anyway, it's a great read. Hopeless juggles a wide cast of characters with ease and Walker's art has us eager for the rest of the series because he draws the brutality beautifully. Marvel has a golden opportunity here to tell a great story and show that they're capable of killing of characters and not bringing them back magically. Let's pray they don't mess that up. 

This old-fashioned story with modern conventions works in this case, but it's not reinventing the wheel. The series may not be aiming for that either though, it might just be aiming for fun, which it is.

All this is to say that the plot itself isn't much to write home about, but it remains engaging from an artistic point of view and at the end of the day is something that's fun to read.

It's tough to really call this entire series a must read of modern comics, but its ability to maintain a unique style of a comic that is no longer really made is something that a certain generation of fan can only find comfort with.

Even though only some headway is actually made in terms of plot in Batman: Three Jokers #1"learning little readers didn't already know"there are still surprises to be found.

Before Watchmen: Ozymandias was a great read. I'm excited to see where this one goes and I really hope it doesn't start spreading into territory that made Comedian and Nite Owl boring and uninteresting. As long as Wein keeps up the cool, collected attitude of Veidt and Lee keeps crushing the art, it should be a great read.

Though I won't spoil the ending for Before Watchmen: Silk Spectre for you, I will say that I have a fear that it will be a predictable series in the long run, but I do hope I'm wrong. I'm also afraid that even though next week's issue Before Watchmen: Comedian is written by Brian Azzarello that I've been spoiled by the goodness of Darwyn Cooke and Amanda Conner. The product so far doesn't rival Moore and Gibbons' original, but it's a very valuable companion piece and absolutely worth checking out.

Writer Christian Tropeano has crafted a dense sci-fi world with Beyond the Beyond, a place dripping with satire of our current world set in what's clearly a not-too-distant future.

The mystery deepens and this one continues to get better.

Beyond the Breach pulls the curtain back to bring more context to its first volume, delivering an origin of sorts and an explainer of what the hell is even going on. The trouble however is that the straight man of the series isn't nearly as compelling as their fantastical counterpart.

Artist Damian Couceiro gets to stretch his legs in a big way wit the final chapter of this arc of Beyond the Breach, delivering a unique flair for one sequence that gives this conclusion a visual punch that it was building toward narratively.

Big Girls #3 delivers perhaps the most dynamic action of the series so far, allowing him to show off his artistic talents like a flexed muscle at Mr. Universe, and the judges applaud him for it.

Jason Howard's series continues to remain steady in terms of quality of art and narrative intrigue.

The best aspect of Big Girls is how unpredictable it remains even through the final panels, it's a comic that continues to reward us.

Patrick Foreman and Brian Hawkins' Black Cotton flips our entire world on its head in a simple way, delivering a biting alternate history where racial dynamics in America are reversed and the killing of a white woman by a black police officer sparks "White Lives Matter" protests and worries from a decades old family about protecting what's theirs.

Chris Roberson flies solo as writer this time, and the absence of Mignola's brevity can be felt in earnest, but Andrea Mutti's artwork, featuring colors by Lee Loughridge, are what give this story life and make it an interesting new road.

The unique playground this series is exploring is making it a very original chapter across the franchise and Mutti's artwork only amplifies that.

Artist Andrea Mutti and colorist Lee Loughridge continue to elevate the material by digging deep into the aesthetics of this particular horror subgenre, bringing that killer final page to life that genuinely made me gasp out loud.

Overall it's been a unique ride that stands out from the other Hellboy spinoffs of late.

Despite a rocky start, Concrete Jungle is shaping up to be a wholly unique and interesting series in the long run, but issue #4 is where they really start cooking with gas.

Infusing a vampire tale with a deep lore of hell, plus war stories and voodoo, there's something here for everyone with a taste for horror.

There's a lot to like about Dead Seas, especially in Brokenshire's artwork, and after getting over the initial humps that arise with some clumsy first-issue exposition it proves to be a clever read.

Artist Nick Brokenshire continues to impress, capturing the grim mood of being aboard a haunted vessel at sea, plus delivering unique and terrifying ghosts with each new page.

Melding a unique style with explosive set pieces and a continued refreshing style of specters make this series something that horror fans should definitely seek out.

Dead Seas is one of the most unique horror books being published, and it seems poised to stick the landing with its last issue.

Cavan Scott and Nick Brokenshire's wild, horror-epic comes to a mostly satisfying conclusion, one with a poignant ending that readers will likely be happy to see.

Peter J. Tomasi continues to do stellar work in Gotham City, delivering a tense and harrowing tale that could easily have been set-up fodder for the upcoming "Joker War" crossover event.

Simmonds once again elevates a decent story idea to new heights with his scratchy art, giving the world a unique edge and palette that makes it shine.

Dying is Easy is finally at a place where it's fun to look at and to follow, and if it can maintain a consistency like this it will be a fun series for years to come.

Joe Hill's neo-noir mystery continues to ride high in the latest issue but is at its best in terms of its narrative when it's focusing strictly on the characters at play and their interactions.

Joe Hill and Martin Simmonds modern riff on Sherlock Holmes comes to a satisfying conclusion, sticking the landing on a series that had a shaky start with its first couple of issues.

Earthdivers does the thing you want from all good comics, showing you something you will not see anywhere else.

Stephen Graham Jones delivers an uppercut of an ensign for Earthdivers that has surprises on almost every page.

This journey is a big one for our characters so the time spent digging into what has become of the surface world is one that longtime readers will find rewarding.

This Frankenstein tale is still a solid one but one can't help but wonder if maybe it should have just been a graphic novel with the way it's paced.

Writers Mike Mignola, Christopher Golden, and Thomas Sniegoski had a fun story in here, but one that seems to have gotten sidetracked focusing on new monsters that frankly aren't that interesting, not when a walking, monk-warrior Frankenstein is the lead character.

Artist Ben Oliver gets a lot to play with as well but its his ability to make the two characters maintain their iconic styles throughout that makes this one really work.

Frank's work continues to be great, action beats in this issue are superb, and the best thing about the series as a whole.

Though the Geiger series itself had its fair share of ups and downs, the 80-page-giant seems like it should have been the first thing out of the gate for this new universe from Geoff Johns.

Have fun with this one because Todd clearly is, and artist Brett Booth delivers both wonky physical features in some panels but also some breathtaking splash pages that let the title hero go nuts.

Heavy once again on the exposition, but that's just Todd's style, this issue does deliver on some interesting twists to the entire Spawn canon that will have hardcore fans eager to keep reading.

It's frankly a miracle that a comic that feels so stuck in the mid-1990s is as readable and fun as Gunslinger Spawn.

Gunslinger Spawn is at its best when Todd allows it to explore the titular character's backstory and what separates him from all of the other symbiote clad fighters that populate this world. Luckily we get some of that here, making this a solid issue until it's forced to fold itself into the largest continuity.

I was as ready as anyone to ponder the easy cash grab of a non-super powered Gwen Stacy solo series, but it quickly won me over. There's no cynicism here; it's all sincerity.

Gwen Stacy remains as compelling and interesting as ever as well, with fun beats for obscure and fan-favorite Spider-Man villains as well.

Mignola remains sharp as ever in crafting the narratives for these short stories featuring Hellboy and still manages to throw surprises in there just for good measure.

"Secret of Chesbro House," though not feeling derivative of previous haunted house stories in this world, does feel familiar but the unbeatable duo of Mignola and Golden make this a more rewarding read than others in the line.

A fun follow-up to a story from the 2019 Hellboy Winter Special, Time is River is a fun jaunt within the franchise.

The next chapter of the Hellboy and the B.P.R.D. yearly saga begins with a tale that brings together much of the franchise in one of its most poignant stories in recent memory.

Frequent Mignola collaborator Christopher Golden continues to deliver on the romantic angle of the storyline, while the traditional paranormal side leaves bit to be desired.

If there's a fault in this issue though it's that the title appears to have become lost save for one page, but for fans invested in the "love," it's a good one.

The adaptation of Mike Mignola and Christopher Golden's Hellboy prose novel continues to be a fantastic read, but the shortened amount of issues feels a bit of strain on its narrative in The Bones of Giants #3.

It's easy to get lost in a larger event when a series has to suddenly shift gears for a tie-in, but the team behind The Incredible Hulk have delivered the best of both worlds.

This new one-shot form writers Mike Mignola and Christopher Golden and artist Peter Bergting is a fun path that expands on a magical side of the universe that has previously been unexplored.

A compelling comic inspired by an audio drama seems like a tall order, but writer Travis Beacham and artist Andrea Milana have managed to make it work for newcomers and longtime listeners.

Johnny Quest #1 picks up after the Free Comic Book Day special which is typically not the kind of thing to leave readers lost, but there are times where writer Joe Casey doesn't always make things super clear.

So far this is shaping up to be a book that longtime fans will enjoy but which newcomers can also embrace.

This new series starring the Juggernaut puts the iconic character in a modern context that suits him perfectly.

Another mostly self-contained adventure, this issue has the hallmarks of classic comic book narrative in that regard, an ethos that seems to be driving the series as a whole.

Garney's work continues to be elevated by colorist Matt Milla who makes the big splash pages of the issue really sing.

Fabian Nicieza and Ron Garney's new series comes to a mostly satisfying conclusion, wrapping up an unexpected and moving narrative featuring the titular villain turned do-gooder.

Katana #1 is as good an introduction to the character as you're going to get. Those unfamiliar with her that have interest, or are simply looking to mix up their pull list, should really consider checking it out. There aren't a lot of comics out there that prominently feature ninjas and Katana is changing that.

This is the best issue yet and I think it can stick the landing after a shaky take off.

Overall, it's a solid series with a gripping story.

Barahona's colors remain a high point for me, giving the story its signature look in what can best be described as Blade Runner 2049 by way of True Grit

Artist Javi Fernandez taps into the mood and violence that fans so often expect from Spawn titles and frankly this is a good jumping on point for anyone that has a passing interest and wants an entry.

It has taken King Spawn three issues to really hit its stride and not feel like a total retread of the regular ongoing series, but it has finally done it.

King Spawn continues its trend of feeling like an extension of the flagship series but without the... ahem... chains that come along with that.

The Santa Clause meets Batman by way of The Boys continues to be wild as hell but perhaps the biggest crutch that the series has is writer Gregg Hurwitz overloading each page with text.

Scribe Sarah Gailey continues to deliver on the hard-sci-fi promise of Know Your Station's set-up, digging deeper into its noir tone and making its mystery even more compelling.

Part of the genius of writer Sarah Gailey's script for Know Your Station is its uncanny ability to layer in new character work while still engaging with and breaking down its larger plot machinations.

Sarah Gailey and Liana Kangas' sci-fi mystery takes on new unique layers in its latest issue, sending its narrative down corridors that aren't even open to stories of a different sub-genre.

Though an attempt is made to give this title some leverage to potential new readers, this is a comic almost reserved for the hardcore Mignola/Hellboy fanatic. Fitting that descriptor however, it's a nice start to a series that could very well become something very fresh and unique in this publishing line.

Alongside co-writer Christopher Golden the latest chapter in the Lady Baltimore series brings a new twist into the paranormal-Nazi story that Mignola has exhausted before.Artist Bridgit Connell continues to do stellar work with Lady Baltimore, making the action beats carry the weight of each punch while also allowing the paranormal elements to stand apart from everything else ever seen in the franchise.

Marvel fans with a broad knowledge of the Marvel Universe won't find many surprises here but it's as decent enough of an elseworlds set-up that feels familiar for long time readers and manages to remain engaging for newcomers.

Adapted from the acclaimed podcast series, Marvel's Voices does what any good anthology comic would do, tell unique and interesting stories in quick and fun ways.

The real sell for the book is art by Germn Peralta and colors by Arthur Hesli, which evoke a specific kind of horror movie mood, building the world out in a colorful way before soaking it in blood and fire.

The balance between Miles' personal life and the civil/superheroics of being Spider-Man is done to perfection by the writer but artist Carmen Carnero helps with the heavy lifting in this issue.

Writer Saladin Ahmed continues to keep the character and his run in a classic motif, pulling the story along in a way that keeps the mystery going without its lack of reveals feeling like a cheat.

This month's issue also makes things clear in the grand scheme, but resorts to typical "villain explains his motives via monologue," hard to argue that it's still a compelling read though.

Pacing is a clear strong suit here as well as this giant climactic battle features enough participants it shouldn't work in a 22-page issue, but this creative pair deliver an ending like an Avengers movie where everyone gets their fair square of time.

The whole thing is anchored by artist Carmen Carnero and colorist David Curiel, who are able to bring Miles' world into the King in Black aesthetic while still making it all feel consistent visually (though a bit of whiplash compared to the style in issue #22).

It would be easy to dismiss Miles Morales: Spider-Man #24 as filler or a stepping stone, but it's a complete, heart-warming, and necessary story.

The true start of the all-new "Clone Saga" is light on answers but offers enough of a narrative tease that it's clear this won't just be Miles' version of the classic Peter Parker storyline.

Strong start so far.

Ahmed's entire run on Miles Morales has been one to keep an eye on and this is turning into the masterwork of the series.

In the end, this was a strong enough arc that didn't need familiarity branding from Marvel to sell it; it also might be better than the original "Clone Saga" because it didn't overstay its welcome.

Guest Artist Chris Allen does good work filling in, delivering one of the most memorable splash pages in the history of this series that harkens back to the McFarlane era of the wall-crawler.

Bandini and colorist Erick Arciniega deliver some tremendous splash pages, including a double splash that is one of the best things to come out of this series.

The wild and trippy nature of this month's issue lends itself to stylistic changes and varied uses of colors, which they make good use of as a team.

Saladin Ahmed's near-flawless work on Miles Morales continues and with each issue he makes it all seem so easy.

Ahmed's work continues to be great though and even with a less-than-great issue, it's still a solid Spider-Man story (even if one particular moment seems very out of character).

Though this final chapter in the alternate universe storyline mostly sticks the landing, its conclusion is largely welcome because the arc as a whole has not been as satisfying as others in Saladin Ahmed's run on the character.

Saladin Ahmed's run on Miles Morales ends with a whisper instead of a bang.

Eve Ewing's new Photon series continues to be a pleasant read, one that new and old fans of the character can find something fun to hang onto.

This series is a meditation on fighting your inner demons once they have become clearly public.

Writer Eve L. Ewing is clearly eager to get to the final half of this issue, which is the entire series at its best, but the setup to get there leaves something to be desired.

At its core the story isn't really something you haven't seen before, but the way it's being delivered and the cast of characters all feel fresh.

Mortal Terror continues its unique take on the Dracula story, and drops another new idea that makes its inverse of the entire story even more interesting.

Series scribes Christopher Golden and Tim Lebbon set up the endgame of the story in a fun way, though there is a moment that the comic has been building to that feels partially bungled, a minor gripe in a series that has largely been home runs.

It is not easy to tell a story using Tohos kaiju that not only does not feature Godzilla at all, but creates a brand new monster whole cloth too. Part of the magic that Sophie Campbell and Matt Frank have with this new series is that theyre pulling off something that manages to do both of those things while telling a great story and feeling fresh and weird. Mothra: Queen of the Monsters has set a high bar visually and narratively for the rest of IDW's Godzilla line, especially should any other kaiju ever get the spotlight in the future. With compelling and layered art, this might be one of the best looking Godzilla books that has been published in a few years.

Michael Avon Oeming's explosive artwork remains the main reason to give this a look as his layouts and decisive paneling are largely unmatched in comics.

Brian Michael Bendis' writing continues to push things into new territory that is unique while still firmly in this weird noir world that the pair have created.

There's room for improvement in terms of clarity in that regard with the storytelling but where Night People #1 excels at is the artwork.

If you're a fan of big swings, or horror-comedies, Paladin of Axes needs to be on the pull list.

As Marvel's new X-Men initiative continues to roll out it's surprising that a solo book like this new Phoenix title would be among the initial wave, but after reading it it's clear that a concise vision of the character and a strong debut made it perfect for the first batch.

Spectacular visuals continue to collide with a personal take on a classic hero, making this a secret dark horse for one the best books out of the new X-Men.

This issue seems to be setting up an interesting take on superhero IP, positioning the title heroes as literal cogs in the machine, it's surprising that they were able to get away with it.

Writer Ryan North's new run with the Power Pack reaches its best issue yet as it rightfully puts the focus and POV of the story in the character that has the most level heard on their shoulders.

Series writer Kelly Thompson not only knows how to fit into the rhythm of what would be a PPG episode but is self aware enough to realize that an issue with an unconventional villain plan and minimal fighting is actually pretty par for the course.

Predator #1 has not only what fans expect from the series, but wastes no time in giving it to the readers.

Ed Brisson's second volume of Predator continues to find new ways to innovate its plot while pulling from everything that came before it.

Predator remains a fun series for fans of the franchise, and the latest issue from Marvel Comics is no exception.

Ed Brisson's work on the Predator series continues to impress, delivering stories where the presence of the titular alien hunter is one that always surprises and isn't mandatory.

It's a fast ending, but a satisfying one, and where the path ahead is clearly marked once again.

Things are left in an intriguing place for the remaining issues of Predator vs. Wolverine, and as long as they can get the visuals in a fun place for the rest of the story (and complete Ken Lashley's part of the narrative) it's looking like a big win for Marvel.

Predator vs. Wolverine remains satisfying even with the hiccups at hand.

This series remains a winner and Percy continues to prove he's the best modern Wolverine writer.

If the strength of Proctor Valley Road #1 is anything to go by, this will be a series to keep your eye on, not only because of its many surprises but because it's able to take the familiar and make it feel new and fresh.

The series pushes itself to new limits with both its horror elements and its reality based satire, making for a great read.

Proctor Valley Road is turning into a dark horse for the best new horror comic of the year and issue three is the reason it's in the running.

Colorist Tamra Bonvillain remains the secret weapon of the series, continuously making its environments and characters pop.

Like with Punisher #1, the series is good but still hasn't quite found its own voice to make it different.

With Punisher #3 writer David Pepose has finally come into his own with this new character.

Series artist Dave Wachter take the ball and runs with it too, delivering clean action and fun moments that deliver the kind of wackiness you can only expect from turning the page of a comic book.

Colors by Andrew Dalhouse make it all pop in a way that feels unique from other Valiant titles, and elevates the minutiae of Ryp's art.

Even in an issue that could be described as a "bottle episode," Rai remains a must read.

Though this run on Rai is now venturing more into a month-to-month serialized story than its first issues it's in a strong place to complete a sci-fi narrative that can only be done in comics.

The only thing slowing this issue down is inconsistencies in the artwork, but it's easy to overlook those with a story this interesting.

Some weird moments in the art do stick out as off or strange but they don't bring anything down in a series that is engaging and fun throughout.

Series writer Steve Orlando makes sure that the Scarlet Witch Annual is one that readers of the new book will find mandatory. Though this is being used as a bridge for a larger, Scarlet Witch-free event, the unique plot and re-introduction of Agatha Harkness into the Marvel Universe make this a must read.

Artist Max Bertolini does his best work of the series as well, continuing dynamic action beats and a unique visual palette over all that separates this from nearly every other book on the stands.

It's difficult to describe Seven Sons writers Robert Windom & Kelvin Mao's work in the series as biting satire when it frankly doesn't seem all that different from reality at times.

Seven Sons' larger satirical bent doesn't feel quite as biting in issue #2 but as the full picture continues to become clear it always remains amusing.

Writers Robert Windom and Kelvin Mao expand this story in a big way with its latest issue, finally pushing its central mystery to the forefront in a way that finally makes this not so tedious of a read.

The best issue yet of Seven Sons as it actually gets into the meat of its plot and puts aside its larger, less detail-oriented world building.

In truth there is nothing else like Shazam! on the shelves at your local comic shop. Though it has the capes and heroics of all the others, the latest issue continues to push the title into perhaps the most unique territory of any DC title.

Artist Scott Kolins does a killer job with the Monster Society, which all have a unique pastiche to them that gives them an edge over just reading about the Shazam family.

Writer Emily Kim has a fun premise for this new Silk series, doing a multiverse-style narrative with a twist that hinges on a lack of realism.

Jason Shawn Alexander's art remains the primary selling point for the book and he's able to stretch his legs into exciting and peculiar territory here. There's also a killer cover by Francesco Mattina!

A solid entry into this new era of Spawn, and though perhaps not the best jumping on point, still a fun read with great atmospheric artwork.

Classic fans will be eager to pick this one up too though as it continues to tie the entire mythos together in a unique and prescient way.

Todd's script works well too, though wordy and overly dramatic in spurts, this is a welcome issue that focuses mostly on Al and allows him to be the kind of character fans have loved for decades.

McFarlane's penchant for writing like it's still 1994 remains as powerful as ever, but it's the work by Barberi that makes this issue sing as his entire style gives the series a familiarity it sometimes lacks with more outlandish and dark artwork.

For all his faults of repetition and wheel spinning, Todd can still make a comic feel unique and interesting even to a new reader.

Rory McConville pens one of the best issues of Spawn in months, delivering actual moments of character building within the page and not relegated to a side note that offers something the dialogue and art didn't (the typical McFarlane style).

As many of these Marvel anthology books go, the stories are a mixed bag, but the ones found in Spider-Man: Black Suit & Blood are all tackling the theme of the title in unique ways.

Taking one of Star Trek: Lower Decks' most unique characters and giving it a proper humor comic treatment, this one-shot is a must read for fans and one that even non-viewers can appreciate.

Readers that might not have dug into the "Death of Doctor Strange" event need not worry though as every piece of context you'll need is here, and it seems like there's a lot of unique decisions at play in Marvel Comics' Strange.

Strange continues to be an interesting series, but sadly one with a ticking clock on how long it can continue.

The Strange comic series reaches its clear best issue with writer Jed MacKay finally pairing his lead character with a suitable match, and also cutting to the chase of its larger storyline.

Jed MacKay pens what is perhaps the best issue of this new series, an entirely Wong-focused adventure, giving the reader unique context and insight into the character that largely lives on the margins of Doctor Strange tales.

This debut issue is setting up a story that could be a fruitful deconstruction of the plot tropes that have become ingrained in the title for too long.

Taylor's group dynamic writing remains a high point and Redondo should be given even more opportunities to draw monsters.

Wright's colors continue to pop in a major way with issue #3 showcasing her work at its best.

In the end though Survival Street ends on an optimistic note, literally, which offers a perspective that the series as a whole perhaps should have leaned into more, but it's still a fun read.

Davis has conceived of a narrative that fits into the grand ideas of the Marvel U and a perfect place for new fans to jump on for a story with their favorite characters from the big screen.

It may be a story that crosses generations, realms, and dimensions, but it feels intimate, and best of all it works. This is the secret event Marvel isn't telling you about.

It may take a bit of re-reading in the first part to grasp it all, but on the whole it's a stellar debut issue.

This sci-fi epic by writer Johnnie Christmas & artist Jack T. Cole remains a dense and tough to navigate story. If you can push through and engage though you'll find an engaging and prescient series that could be your new favorite.

Tartarus continues to check all the boxes for hard sci-fi and fantasy storytelling, delivering another issues that feels like a future staple of the genres in this medium.

This must read series finds its footing again.

Guest artist Andrew Krahnke continues to do a magnificent job as well, aided by colors from Hilary Jenkins, that make the absence of co-creator Jack T. Cole almost unnoticed.

There continues to be marvelous storytelling on display in each issue of the series, which shows no signs of losing steam.

The Bone Orchard Mythos: Tenement continues to build on its foundation with perhaps its most satisfying issue yet.

In a series filled with experimental storytelling, Jeff Lemire and Andrea Sorrentino's latest issue of The Bone Orchard Mythos: Tenement might be its most ambitious.

Far and away the best issue of The Bone Orchard Mythos: Tenement has arrived, opening up the door for both the entire franchise's story in a satisfying connective fashion but also this series' specific narrative.

I remember when I saw the roster for The Fearless Defenders I thought, 'I bet it'll be great, but I think it will be the first one to get cancelled.' I really want to be wrong, because it's a good series that offers a look at corners of the Marvel Universe that you're not going to get in the other comics. If you want to be up on the really obscure things happening in mainstream comics, this is for you.

As a longtime Universal Monsters fan, I was even more curious for how a Mummy comic would go than any other series that Skybound has announced. Though the first film is an admirable effort, it doesn't reach the heights of the others in the canon and its sequels largely fail to match even that. But what Faith Erin Hicks' comic series has already proven is that not only is there material to mine in even the most sluggish of films, but that the right creator can bring a depth to these stories that not even the movies really had.

This new series reboots the property for new audiences and old fans alike with a direct approach to the concept in a fun inaugural issue. The only real downside for the series' kickoff is that it has to spend more time establishing its world than really playing in it, though it features quality backup tales to supplement that shortcoming.

The Rise of Ultraman #3 is the issue you were dreaming of when the announcement from Marvel first hit.

Writers Kyle Higgins & Mat Groom deliver their best issue yet with the series (tragically the penultimate) and set up a finale that appears to be the kind of throw-down we've been waiting for since issue #1.

Sean Lewis has finally cracked the formula about how to make a team of Spawns work, give the readers a POV into one specific character and make them the window into all the others.

Though featuring probably the least amount of its titular robo-hero and his kaiju enemy, this might be the strongest issue of the Ultraman series in the modern Marvel era.

Trials of Ultraman has all the knock-down, drag-out fighting you can want from the kaiju buster and ties together all its dramatic story beats into a nice bow (a bow tied to the present of an impending Volume 3 naturally).

Thunderbolts is a solid debut issue. The writing is very good, but the direction of the story isn't there, so it might lose only half-interested readers quickly. Dillon's art has never looked better, but that's because the colorist does a lot of the heavy lifting. If you like any of the characters on this team, this is almost a must read.

Diaz and Olazaba have fun with the issue's fun action beats (psychic monkeys take over a zoo, it's great), but Thunderbolts #3 posits that this team is a broken group of people that were assembled for the marketable aesthetics that they have and not their abilities as a group, which is only breaking them further.

This one is not only something for fans of cheeky horror but anyone eager to really appreciate the comic book form when executed at a high level.

A handful of surprises are still in the mix that will have readers raise an eyebrow, but if you've read a Black Panther comic in the past 20 years this one doesn't feel all that different, but that's still not a bad thing to publish.

I was critical of the first issue of Ultimate Black Panther because it felt too familiar, too safe, but what's clear now after Ultimate Black Panther #2 is that writer Bryan Hill was using that familiarity to disarm us as readers.

Despite a first issue that seemed to maintain the status quo, writer Bryan Hill has managed to find a unique path for this version of Black Panther as the series has continued and issue #3 keeps this going.

Caselli is given the task of depicting war at its most gruesome with the impact of the imagery being felt across its many gruesome panels.

As has been the cast this entire time, Ultimate Black Panther is at its best when setting itself apart, and that remains true here.

Writers Kyle Higgins and Mat Groom have earned this moment but the issue also revealed that perhaps their biggest crutch, overly wordy panels and balloons, can be overcome, and the series will be better for it.

It seems unlikely that Marvel's Ultraman comics will end after this volume but with one issue left it's looking like an epic place for it to conclude.

Building off of what was far and away their best issue of Ultraman, writers Kyle Higgins and Mat Groom have brought the latest series in for a landing with another great issue.

Garron's work is, for the most part, pretty extraordinary in Uncanny Avengers #1, elevated with some help from colorist Morry Hollowell.

Dvila's ability to harness the respective chaos and calamity of both Marvel characters makes this a fun read, even if you haven't read the other "Contest of Chaos" issues.

Hitch works in tandem with inker Andrew Currie and colorist Alex Sinclair to give you the stylized Venom poses fans are eager for, shaping this one up to be a title to keep an eye on in the future.

Marvel fans that craved the deep lore that Donny Cates brought to the character should consider this a must-read as it takes it even further and will be the key into a larger door of the next decade of Venom.

Though the last issue was the pinnacle of the entire series so far, Venom #6 is a fine entry point and a continuation as new readers can get the full story and those that have already punched their ticket get even more out of the story.

Picking up from its best issue earlier this year, writer Al Ewing has crafted a Tenet-like twisty piece of science fiction that feels like the kind of radical invention that Venom needed after the previous run with the character.

Though the DNA of it has been there from the beginning, with some annoying side trips, Al Ewing has finally really brought the flavor of what everyone loved about Immortal Hulk into this version of Venom.

It's kind of a shame that this new run on the character hasn't caught on to the same effect that Cates' had, it's far more inventive without pandering to expectations in any way.

The new Venom series is quickly becoming a must-read sci-fi epic.

As was the case with the likes of Immortal Hulk, even when tying in his new Venom series to a new Marvel event, scribe Al Ewing makes it play seamlessly with the narrative he's already telling.

After months of unnecessary tie-in issues, Al Ewing's Venom finally gets back to the good stuff.

Appropriately titled "PAGES 2-19: THEY FIGHT," Venom #21 is full of artistic glam but manages to weave big plot machinations in there too.

Al Ewing delivers one of the best issues of Venom in quite some time, showing a clear knack for writing Doctor Doom that feels entirely in character but also fresh.

Al Ewing's mega-sized issue is at its best when focusing on the hijinks that Doom and Venom encounter while tumbling across time and discovering what adventures await them in each new period, and less so when it's doing its best to untangle the larger "how" of its time travel provocations.

Even though the latest issue feels like the series getting ready to wrap itself up very quickly, it remains fun and features some wild swings about the future of Venom.

Artist Ivan Fioerelli does great work with the absurd situations that the character finds himself in, making action beats fun and keeping the pace of the entire story moving.

Saving the best for last, writer David Michelinie delivers an issue that is as absurdly fun as it is completely retro.