Tanner Dedmon Comic Reviews

2020 Force Works puts together yet another group of heroes who don't really want to be working together. They might not be a functional group in the first issue, but their overall dynamic is at least interesting enough to set up the story and some meaningful inter-team conflicts and conversations.

The second issue of Force Works has some big twists in it to keep readers guessing, but the so-so action supporting those moments doesn't do a lot to set it apart from other superhero stories out there right now.

The allure of piracy is a potent one in this story that lays a foundation for more creative liberties to be taken, and assuming A Man Among Ye's first issue is any indication and the spotlight stays wholly focused on Anne as it should, those liberties will be taken in the right direction.

The result is an inviting setting that'll have you quickening your pace alongside the events of the story to see what's happening next.

A Man Among Ye's ragtag group grows a bit larger in its third issue to give readers new ways to explore characters' relationships and motives.

If this chapter is any indication of the story's potential, hopefully we'll see A Man Among Ye be more of an origin story with more adventures to come later.

Brief spats of action show that the fierceness of Anne and her party at least hasn't diminished, though I'll hope that their unique traits are emphasized more later on as Mary's are.

A Man Among Ye seems to thrive in chaos, but it takes a bit of a different approach in the seventh chapter. Skepticism, subterfuge, different perspectives, and promises of treasure fill the pages of this issue with varying results.

A Man Among Ye #7 featured the personality and excitement the previous issue lacked, but it still felt as though it ended too early and only part of a chapter was told.

Not every loose end was tied up which was surprising considering how long the series spent acquainting readers with each member of Anne's crew, but it seems this likely won't be the last we've seen of them either.

Weapon Plus feels like an excellent accompaniment to the other Carnage stories and will hopefully continue to present itself that way.

Aero has a distinct manga-like flair that shines in its fifth issue even if this chapter in the story does feel a bit busy at times.

Aero's main story is a relaxing one in the sixth issue even if it doesn't move things along very much.

Aero's style still dominates the series, but its story is moving forward a bit too slowly in this latest issue.

Much like Aero's confidence and her new sculpting ability, the backstory of the Jade Towers and the battles surrounding them is finally starting to take form.

Aero #9 was a refreshing and needed moment for Lei Ling, one that patches up her challenges and issues from previous chapters.

Aero #11 spends a lot of its time unraveling the mysteries of the crystal beasts and their remarkable towers through exposition and flashbacks.

Aside from the clever visual juxtapositions between Aero and Iron Man, it's worth appreciating how brief the armor-clad hero's cameo was so as not to steal the spotlight from Aero for long, though it would've been welcome to see someone else take over the mentor role for once instead of Iron Man.

Valeria's quest in Age of Conan: Valeria looks to be one worth accompanying the warrior on.

The volatile nature of the whole world of Valeria makes it so that one could doubt the hero's safety even though it's a guarantee that she'll carry on, and it's that tension that'll help carry the series regardless of what turns the narrative might take.

Valeria #3 also continues the Conan trend of expertly balancing the "then and now" of a narrative through seamless transitions which make even the biggest of time jumps easy to navigate.

It's at its best when depicting the characters expressively during their emotional peaks, and while it's no doubt an important chapter for the overall story, this feels like a rare miss for Valeria.

Antonius' story could've benefitted from a more decisive end given his importance, but Valeria's chapter is still a strong one in the Conan collection.

There's a bit of a pacing problem at the start of Age of X-Man: Apocalypse and the X-Tracts #1, which is a shame since the unique mutants deserve some time to get to know them.

All of these events transpire at a reasonable pace that doesn't linger on one event for too long and sets up what'll hopefully be an eventful encounter in the next issue.

The hunt for Omega Red continues, and on that journey, we're greeted with some beautiful artwork in panels with Unveil and Genesis.

As always, the artwork from any page where Unveil makes an appearance is contrasted wonderfully by the otherwise bleak style and story of the rest of the series and is dazzling in its own right.

The story will continue in Age Of X-Man Omega, but it felt like this fifth issue lacked an element that would help bridge the two series together.

Two young adults wanting to leave town and see the world is a path that's been trodden many times, but Kismet and Jani are characters compelling enough to draw readers back in for another go.

The first issue casts a wide net to catch all kinds of Apex lore which could be promising, but hopefully it'll manage to rope everything into the four-issue series instead of overwhelming newcomers with more required readings and homework to make sense of the story.

Some deliveries of catchphrases and Legend-to-Legend conversations still feel a bit clunky, but Overtime is shaping up to feel like quite the authentic Apex Legends story.

There's a lot going on in Apex Legends: Overtime #3, and not in a good way.

Aria: Heavenly Creatures does a tremendous job of packing a story filled with so many fantastical elements into such a short timeline.

Arkham City: The Order of the World has a sinister and somber appeal to it that's not found as often in the bigger Gotham series.

With everything else steeped in the noir detective-themed aesthetic in The Order of the World, the splashes of color and emotion accompanying each scene with the outcasts and the "Ghost of Arkham City" make their presences even more imposing.

Armorclads gives and takes before really giving time to make the "take" part as meaningful as it should've been, but it got its point across all the same.

Visually, this focus on the humanlike qualities of our cast does still feel like it's holding back the potential of the fantasy universe to a degree with nothing really in #2 selling the setting any further than the debut issue did.

Complicate the always entertaining spunky rebellion themes with a treasure hunt for long-lost myths and Armorclads is shaping up to be much more engrossing than initially expected.

Armorclads sets up a truly impressive point of convergence between multiple factions in this fourth issue, but in many cases, the way these scenes are portrayed fail to capitalize on the potential.

Armorclads #5 exhibits the same issue its later issues had in that it's inconsistent in its larger moments.

Avatar: The Next Shadow's first issue largely serves as a cooldown for the events that came before it. Because of that, there's simply not much going on in the new series' first issue.

The ceaseless human vs. Na'vi struggle is the core element to the series, but leaning more heavily into the Omatikaya clan's customs through things like the trial by combat seems like the more interesting route this series could hope for.

The third issue benefits from this by spending slightly longer with them before reincorporating the humans into things, though it looks like future chapters won't follow the same trend.

Avatar: The Next Shadow sure seemed like it was in a hurry in its fourth issue, though I'm not sure what it was hurrying towards.

Bad Luck Chuck #1 is a strong introduction to a character that I can't wait to learn more about.

Bad Luck Chuck's blocky art style mixed with a bit of grit is so intriguing that it could probably support the entire story without any dialogue, but it'd be a shame to do so since you'd miss out on learning so much about Chuck's character.

Bad Luck Chuck is a world I'd be happy to return to, if that's the case.

xplanations and rationalizations from The Foundation and The Batman Who Laughs are a bit on-the-nose at times, but it's overall a solid follow-up to an already creative series that provides a smart, believable backstory for the crazed Batman's arrival in Fortnite.

Batman/Fortnite: Zero Point has a lot to get right and a short amount of time to do so, but it handles its content load tactfully.

Batman/Fortnite: Zero Point seems to have found its footing in its second issue and sets up a framework that could house many kinds of contained, one-issue stories even if its depiction of certain characters feels misplaced at times. It's a faithful analog to battle royale experiences that works on multiple levels, and from its first two issues, it seems as though it has more potential ready to be realized.

The result is a tactful and enlightening expansion of Fortnite's universe even if Batman as a character takes more of a backseat to the game's exposition this time.

Building on what's perhaps one of its strongest traits, this latest issue continues to bring something to the table for both those who are invested in Fortnite's lore and those who just want more Batman.

The whole idea of the Batman/Fortnite: Zero Point series was imaginative already by fleshing out Fortnite's lore with Batman, but the finale certainly didn't pull any punches either. It's got humor, romance, heartbreak, and even more twists than expected from a story already brimming with crossovers and guest appearances.

Bizarre Adventures #1 is four stories wrapped into one, each of them varying in degrees of intensity and humor while also featuring wildly different styles.

Establishing a story that balances being sensible and preposterous, Black Cat #1 sets up the perfect avenue for the storied burglar to fulfill a key role in "King in Black."

Black Cat #2 moves quickly, but it thankfully keeps its pace restrained in in ways that make sense.

Seeing these classic stories brought to life again makes them feel like remasters or remakes of sorts and allows people to experience them in a way they otherwise may have never been able to.

The lush land in and around Terra filled with nature reclaiming its home has potential though as does the unexpected emergence of grotesque body horror, so hopefully Terra is just the starting point and not the whole playground.

Small-town pleasantries clashing with dismemberment and mechanisms fueled by body horror create an ideal mixture of suspense to thrive off of.

Children of the Grave's turn taken in its third issue wasn't wholly unexpected but still proved more diabolical than anticipated.

Children of the Grave nails its finale with a well-earned conclusion.

Without a moment's notice, Chu goes from Saturday morning cartoon vibes to the animated shows best aired after the kids have gone to bed.

While most stories take a while to build up their foundations and set out on the main story, Chu's moving at an appreciably swift pace in its second issue.

The neat and uncluttered artwork and layout of Chu #3 does wonders to tell this chapter of the story.

Ever able to blend the grotesque with the cartoony, Chu #4 finally unravels some secrets and better reveals the true natures of certain characters while barreling down paths that look like they have no way to return from.

Some turns of events did seem a bit cheesy, this end has successfully managed to set an enticing foundation for whatever comes next.

The new Chu chapter with its exaggerated expressions and softened violence is as good a reintroduction to the character as one could hope for and a fresh jumping-on point for what's to come next.

Chu #7 skews a bit further towards distracting here with several narrations which probably could've been nixed to let the artwork speak for itself. It does get points, however, for a truly unexpected ending.

Chu #8 excels with a near perfect example of comedic timing.

After finding a way to both cleverly manage a time travel explanation while jumping back and forth between a not-so-distant past and the present, Chu's on a hot streak.

Ominous portrayals of iconic Marvel characters and locations teetering between Conan's realm and ours help blend the two settings together and create a cohesive world that invites you to see what happens next.

Conan: Battle for the Serpent Crown takes the crossover magic one step further in its second issue by showing that there's apparently nowhere in the Marvel universe that it's afraid to touch.

Conan's unabashed dialogue continues to be a breath of fresh air amid the lengthy superhero banters.

If the build up is an indication of what's to come, the conclusion should be a satisfying one.

It's Conan at its core with equally impressive close-ups and wide shots of all the action, and the way the issue's opening pages loop back around to the conclusion makes the payoff that much better.

Crackdown shows promise with the action scenes it touts in the first issue though, so hopefully future issues will focus more on that and fleshing out characters.

Crackdown's got a compelling enough story so far and I'd like to see where it goes, but both the action and the characters need special attention to straighten Crackdown out.

Legends of the Dark Knights is an excellent exercise in "What if?" if there ever was one. It's at times almost a scholarly examination of the multiverse concept and the rules that govern it and is often an unhinged flurry of possibilities following the wildest threads to their conclusions.

I don't think anyone will understand their favorite hero any better than before after these end-of-days moments, but they're appropriate send-offs before a grave mission.

There's nothing quite like a collection of spooky stories compacted into brief tales from different minds, and with DC's expansive roster of seedy locales and grittier characters, it's got quite the foundation to take on such a task.

The foundation's an interesting one despite its familiarity, and now we just have to wait and see if Dead Body Road: Bad Blood can differentiate itself enough to truly stand out.

Expletives and brutality have their place in more serious stories to set the tone, but there's eventually a saturation point when these sorts of things become excessive. Dead Body Road has about hit that point already despite being only in the second issue.

I'd maintain that about half the expletives could be chopped without losing any value, but when they're used sporadically, it helps deepen the borderline lawless, small town appeal of the setting where events unfold quickly and everyone else scrambles to keep up with one another.

While not quite as active as previous issues, there's a certain tension in this one accentuated by the occasional bold, colorful backdrop where we ditch the small-town setting at times to highlight pivotal moments that move us towards that inevitable clash.

If there were a flowchart of potential outcomes, this ending of Dead Body Road: Bad Blood would be the best, most fitting one we could arrive at.

There's nothing necessarily wrong with the first story in the book aside from possibly rushing too quickly to its end, but it's the second story with Scrooge McDuck and company that stands out.

If Doctor Doom wasn't at the top or even in the top three of your favorite Marvel villains, that might change by the time this Doctor Doom run is through.

Doctor Doom #3 digs deeper into a world of multiple timelines and existences in the human world and the afterlife, but it does so in a manner that avoids being too convoluted.

Doctor Doom #4 is pretty much a superpowered tower-breaching story set to the tune of a challenging conversation going on between two great minds, and the issue does a tremendous job of handling both scenarios at the same time.

Doom pulls off an excellent heel turn in the fifth issue to remind you who he truly is.

The limited action scenes from this issue start off a bit messy before finding their groove and showcasing some unique villains, but even if those faltered at first, the foreshadowing of black hole confrontations to come create the perfect canvas to impress.

In pretty much every way it could be, Doctor Doom #7 is an immaculate chapter.

Twisted backdrops of war, otherwordly beings, and quieter moments frame these self-explorations skillfully to give a peek at the struggles and victories jostling around in each character's mind.

Out of every chapter of Doctor Doom from this series, this issue offers the best, most convincing look yet at the hubris and deeply guarded uncertainty that plagues Doom.

Doctor Doom's tenth issue manages to be both unpredictable and inevitable at the same time.

Ducktales #20 has a few laughs peppered into its pages, though there's unfortunately not much that's remarkable about the issue.

Busy artwork filled with flashes and dramatic effects during clashes makes the pages feel full even during the quieter moments and ties back into the never-sleep qualities of the setting where this opening story takes place.

It's a promising beginning so long as the trends established so far hold up.

Empyre: Avengers smartly leans even heavier into underused members of Marvel's roster in its sophomore issue with a worthwhile payoff.

Empyre: Avengers does a superb job of balancing such varied settings and groups of heroes in one package, but the Savage Land stands out among the rest.

Faithless III seems like it'll find a way to raise that bar regardless, though one can only hope the story keeps up with the shocks.

The commentaries and introspections Faithless III pursues are becoming increasingly more difficult to appreciate or digest when it seems like every other page and panel is there for shock value.

Faithless III #3 is surprisingly tame in its depictions of hellish eroticism just as it is more predictable in its story. Perhaps even more surprising than that is that the middling nature of both of those elements made it more digestible and, to a degree, more enjoyable.

Compared to past issues, #4 finds a strong balance with digestible banter and revolting imagery.

This issue was nowhere near as visually shocking as past chapters which could be a relief or a disappointment depending on who you're asking, but again, perhaps a middling response is not one Faithless should strive for.

Faithless III comes to a close with its sixth issue, one that's surprisingly tame compared to some of what we've seen in the past. That may come off as a bit anticlimactic for some, but it fits the somber tone we've seen throughout the series.

Falcon & Winter Soldier starts with an explosive opening to the first issue and doesn't really let up from there.

A pair of superheroes fighting through a gauntlet of train cars full of different types of foes is a recipe for success, and Falcon & Winter Soldier made the most of it with scenes far grittier than you'd expect them to be.

Falcon & Winter Soldier has a found a balance between humor and action that's simply unmatched in other series.

Continuing to depict a mastery of balance between humor and action, Falcon & Winter Soldier is right on target again in its penultimate issue.

Through brutal blows and some witty banter during the colorful, expressive fights, we're treated to some of the best clashes the series had to offer in its finale.

It makes sense to call upon old Far Cry memories both in terms of the narrative and the fan service, but I do hope these future issues give Antn and Diego their due instead of relying solely on what came before.

The second chapter of Far Cry: Rite of Passage naturally feels different from the first having not personally played the game referenced as opposed to the content in the first and third chapters, but aside from that personal distinction, there's a noticeable change in the family dynamic between Antn and Diego.

Far Cry: Rite of Passage's final issue hits the hardest in a number of ways.

Farmhand's understated comedy will also grow on you and helps balance out some of the darker, more ominous themes.

This issue's a suspenseful one, and it looks like its steering the book towards a much darker path than it's already on.

Through some excellent framings of the fight between Venom and their new opponent, Virus, we're treated to some unique perspectives and a compact scrap that highlights Venom's longevity and resolve as one of the character's most appreciable qualities.

Compared to past Fortnite crossovers which were unexpectedly captivating, the first chapter of Zero War feels like a cumbersome miss.

Fortnite x Marvel: Zero War moves past the tedious setup found in the first issue and now can more seamlessly blend the two universes together in its follow-up chapter.

As its cast grows, however, it's becoming more evident that trying to house this many characters from more than one universe in a single story gets more cumbersome the further along the story goes.

Fortnite x Marvel: Zero War's penultimate issue gets stolen away by Doom, though those familiar with the villain shouldn't find that hard to believe.

Fortnite X Marvel: Zero War #5 makes for quite the page-turner at times and succinctly wraps up was was sometimes felt like a long-winded, bloated story at times.

The intentional withholding of Frank's past shown only through night time recollections and faded photos leaves plenty of room for more to be explored in the future.

Frank at Home on the Farm still doesn't have me totally convinced, but there's something about its slow burn that makes the series feel like it'll be worth the investment.

Frank at Home on the Farm #3 is the most disorienting and foreboding issue yet.

The finale was dramatic and grisly, the type of thing you both want and don't want to look away from, but the conclusion did feel a bit on-the-nose compared to how convoluted the rest of Frank at Home on the Farm told its stories.

Underneath that weightiness is an exciting prison break story filled with unexpected turns of events, so perhaps the rest of Future Foundation will follow this path now that the introductions are taken care of.

Future Foundation's quick pace is also appreciated"the heroes have to stay on their toes just as much as readers do as plans change and events unfold.

The third issue of Future Foundation is a dense read at the start, but it finds its footing soon enough.

It's all succinctly bundled into a compact issue full of stylish clashes and foreboding implications for the conclusion of Future Foundation.

Future Foundation wraps up its story in the best way it can, but it still falls victim to the pitfall the first issue experienced where it doesn't give enough time to become acquainted with its characters before moving their story forward.

Hivebusters #1 goes right up to the edge of being overly long but ends at just the right point that left me with optimistic expectations for #2.

It's an excellent introduction to and continuation of the Ghostbusters that feels like it has much more to offer.

Year One has established a winning formula two issues in that's easily set the foundation for future successes.

The ghost story wasn't quite as eventful as the previous ones, but it made up for it with its comedic retelling that could only work as well as it did in Venkman's issue.

Dry humor isn't always easy to pull off in the written word even artwork's there to translate the intent, but Egon's demeanor and delivery come across perfectly in the fourth issue of Ghostbusters: Year One.

Many stories set in Gotham look to explore the bleak, seedy underbelly of the city, often succeeding in their attempts. But considering how Gotham is already at a critical point under Bane's control, a microscope on the volatile Monstertown that zooms even further on some of its most captivating citizens is perhaps one of the best examinations of Gotham's dark side.

Compared to the strong, measured start of the opening to Gotham City Monsters, the second issue feels rushed and loses some of its grit.

Gotham City Monsters still has its dark charm to keep it going, but the chemistry between the six characters simply isn't clicking enough to support the story.

The big fights and wide depictions of the monsters coming together and Melmoth's Mandrills taking action still hold strong as they have since the beginning though, and combined with the hope of more decisive moments, they carry Gotham City Monsters forward.

Gotham City Monsters #5 is just the refresher the series needed, a return to some of the early charm that somewhat diminished along the way.

Redemption and creative decisions in the heat of combat come together in the end to succinctly wrap up the story of Lone Wolf.

Happy Hour digs up the old quandary of dealing with being unhappy but also being accepting of the fact that it's alright to be unhappy in the first place. In doing so, it presents readers with an all happy, all the time dystopia that looks the part but doesn't do much to make itself stand out.

Harbinger #5 feels a bit angsty at times, a bit long-winded. The actual "superhero-ing," as our protagonist calls it, alleviates some of that amid the talks with some classic brawls of grand pace and scale.

The Harbringer #6 consists of a whole lot of talking with not as much action which isn't always a problem, but it is when the whole lot of talking doesn't end up adding much.

With its real-world, pop culture references and the heavy themes of togetherness and friendship, The Harbinger comes off a bit cheesy at times despite how noble those intentions are. However, The Harbinger #7 tones that down just enough to capitalize on those ideas throughout its phoenix-y story wherein villains get what's coming to them (though Blam did devolve into a whiny, angsty baddie pretty quickly) and the heroes get even more.

It's stylish, at least, even in its quieter, more talkative moments, but one can't help but feel it to be a bit anti-climactic.

With bold colors that seem to give off a glow on every page coupled with the story of a seedy criminal underworld and unknown adversaries, Hawkeye is setting itself up to be a compelling thriller and an excellent introduction to the hero.

Two issues in, Hawkeye: Freefall has shown some impeccable depictions of not just Hawkeye but multiple Marvel heroes.

Hawkeye's plans have always been connected by mere threads in Freefall, but they're starting to fall apart more than ever in the third issue. It's a refreshing change for a character who always feigns being so composed because it allows more of his personality to break through the exterior to show a more contemplative and vulnerable version of the character.

Hawkeye: Freefall #4 is one of the most fun and most frustrating issues yet, but it's frustrating in a way only Hawkeye can be.

From the underground fighting rings to the issue's conclusion, the mounting seriousness of the book is conveyed well through some more dramatic and occasionally grisly depictions of the characters and their interactions with friends and foes.

Hedra is a visual treat and is unlike anything I've ever read before, but part of the experience here is that you're not really reading anything at all, at least not in the traditional sense.

Hulk #4 keeps things brief as well without skipping a beat or doting too long on any one point " it understands what people expect from a Hulk comic.

The chamber of ever-increasing difficulty Hulk fights zombies, gods, and demons in is a fitting analogy for the series overall in that it's difficult to predict how it could grow more intense from here.

As always, Hulk #6 ends with a tantalizing preview of what's to come which wouldn't normally be worthy of a callout, but it's something this Hulk series has consistently excelled at.

The creators understand that superhero bouts within groups like the Avengers have been played out time and time again, and to raise the stakes, Hulk #7 attempts something different and drastic and succeeds in doing so.

Hulk #8's big sendoff for the green hero manages to succinctly wrap up pretty much any questions that may have persisted throughout the series while also adding new layers to the dynamic between Hulk, Thor, and the rest of the Avengers.

Combine all of that with some sparse moments of relief from Banner's banter and you've got a near perfect concoction of emotions.

A touching and insightful story for both Spider-Man and Hulk, Immortal Hulk: Great Power #1 shows us a side of Hulk that's often forgotten in his adventures.

Every series should explore alternate dimensions at some point to give imaginations a chance to run wild, and Invader Zim performs well during its turn.

The jokes and interactions between don't even elicit a smile which leaves out a huge part of the Invader Zim formula that relies on that humor to balance out its darker, stranger moments.

Invader Zim #42 stands out as a bright spot in what's felt like a rut the series has fallen into in the past few issues.

Despite having a decent enough story about Dib overcoming a gauntlet of meat-skiing challenges and looking pretty enough for a story about Meat Mountain, this issue just doesn't have the humor to back up everything else.

A fairly so-so Invader Zim issue about hurting meat and caring for inanimate objects was made a winner by its last few pages.

Given how well this issue is structured, seeing that it'll continue on to at least a second part is a welcomed sight.

If you've ever been on the fence about Invader Zim, Zim's Greatest Plan #1 is worth checking out.

Ironheart #4 has some beautiful scenes and helps round out the characters as more tangible people, but it doesn't always do so in the most digestible way.

Riri becomes more likable, relatable, and skilled with each issue while retaining the integral "still learning" aspect of her character.

The story is paced so well that it'll feel shorter than it is, and it's bolstered even more by the appearance of Morales' Spider-Man.

Ironheart has been working its way upward in the past few issues, but #7 feels more like a plateau that'll hopefully be crossed soon.

Based on what we've seen in this issue, it looks like it's time to start paying more attention to Ironheart considering what's to come.

Ironheart #9 sends Riri to Wakanda, and in the process, we're gifted with one of the best crossovers the series has offered.

"Shuriri" is turning out to be one of the best duos the series has introduced so far, and the chemistry between the two only strengthens with every conversation and battle they share.

The penultimate issue of Ironheart has what's likely the biggest revelation in the entire series with the actions and emotions to back it up.

Ironheart focuses more on developing Riri as a character than it does on flashy fights against her adversaries, and the result is a big pay-off even if you've only been casually invested in the character.

James Bond is off to an explosive start and has the potential to only get better from here.

Bond's character feels like more of a supporting role at this point, but given how charming the other two protagonists are, that's not a bad thing.

James Bond continues to feel like a true-to-form Bond story, though that means you have to accept a certain degree of cliches to make things work.

James Bond #4 is strong enough on its own, but it truly brings into perspective the importance of having other characters like Brandy alongside Bond in their shared missions.

Brandy's showdown is choreographed and depicted well in a darkened art room where she's able to make use of her wits and surroundings to culminate in a satisfying showdown even if the banter was still a bit cheesy at times.

Though its monstrous aliens could easily sweep John Carter of Mars in terms of its visuals, every character in the second issue stands out to a surprising degree due to how clear and crisp they're portrayed.

John Carter of Mars #3 is visually compelling with its rose-tinted settings and unique character designs naturally providing ample opportunity for creativity, but it doesn't do much to move the story forward.

It's an expressive and surprisingly graphic issue at times, and if its big moments are any indication of what's to come, the larger war it's setting up should be something to look forward to.

John Carter of Mars delivers a pretty stellar climax to its story once it gets past an admittedly clumsy revival sequence that opens the story. John Carter of Mars #5's dual-perspective setup does well to balance more serious topics of atonement with comedic relief even if it all feels a bit rushed to get to the best parts.

Justice League #73 manages to strike a balance between two of the most unique parts of the Justice League: the fights, of course, and the unusual relationship between so many different types of heroes who've come together.

Much of Justice League #74 is steeped in murky darkness to achieve an evident good vs. evil contrast, but unfortunately, those shadowy scenes do little to help readability.

"Death of the Justice League" may not have been able to solve all its sizing dilemmas on its own, but it makes up for any shortcomings more than enough with its larger-than-life depictions of the heroes and their brawls.

For however long it lasts, Justice Warriors is off to a tremendous start.

As expected, the mutant demographic continued to work in Justice Warriors' favor this time by keeping things fresh with new faces and favorites to pick out from the crowds.

Some of the unspoken symbolism is clear in Justice Warriors while other parts take a bit more effort to decipher, but even where some aspects are ambiguous or unclear, it's a treat to look over the scenes once more to see what might've been missed.

Justice Warriors #4 opens less surefooted than some of the past issuesperhaps it's because it's more talkative and expository than others?but it finds its pace soon enough once the buddy-cop escapades resume.

Justice Warriors' constant irreverance does make one lower their guard, however, which leaves room big surprises like some of the dramatic spreads seen in this fifth issue.

Does anyone learn anything at the end of Justice Warriors? Hardly, but considering how steeped in satire the whole run has been, it's hard to imagine getting anything but the conclusion that we did.

If tempo is what you're mainly here for, however, Kick-Ass vs. Hit-Girl looks like it has no intentions to slow down.

Jane Foster's travels between the lands of the living and the dead have consistently played host to some of the hero's most bizarre and unsettling encounters, and it's no different in the "King in Black" story.

Return of the Valkyries' splintered storylines felt unusual at first as if the story was being spread too thin, but they inevitably found a way to seamlessly weave back together.

The penultimate issue of King in Black: Return of the Valkyries will make you realize just how attached you can be to its cast if you hadn't realized that already.

The way a celestial might manifest itself was equally up in the air, but the depictions of past memories and the somewhat humanoid form of the celestial were fitting, excellent interpretations of its otherwise abstract form.

Ashe: Warmother #3 continues to build League of Legends' universe by following Ashe's journey after she lost her tribe and acquired her signature True Ice bow, and it does so at a pace that's both fulfilling to those privy to League's characters and others who are just now being introduced to the lore.

Jumping into an established property in a way that's welcoming to newcomers while still being engaging to existing fans seems like a challenging task, but the first issue of Lux balances the two audiences perfectly.

The fanservice for League of Legends fans runs just as deep in the second issue of Lux as it did in the first.

Right and wrong come smashing together in #4, a blurriness that's exemplified by how charismatically Sylas is drawn and written.

There's a lot to unpack in this story for a first issue though, so it might require a second pass, but that's hardly a downside considering how easy it is to become immersed in Little Bird's world.

The more you see of Little Bird's bleak world and its gruesome inhabitants, the harder it is to not become engrossed in the series.

If you thought you had Little Bird figured out, you might not be so sure after this issue.

Little Bird's conclusion is an epic and brutal one, an issue packed with enough gruesome scenes and unforeseen events to fill up another entire series.

Little Monsters has a special way of revealing its secrets that's appreciated best at the end of the first issue where most everything falls into place.

The emphasis on leaving color out of Little Monsters until it's needed makes for a profound effect, but it does sometimes affect readability to a degree as far as depth and clarity are concerned.

The stark black and white contrast of Little Monsters continues to be one of its strongest components, and Little Monsters #3 perhaps makes the best use of it yet.

All the foreshadowing in Little Monsters pointed to disaster, but even still, it did little to blunt the edge of Little Monsters #4's shocking events.

This issue was certainly more exposition-heavy compared to past chapters, but its stoic, decluttered art style left room for the dialogue to run heavier here without running the risk of being overloaded.

As different motives take shape and the various factions start spiraling towards each other, Little Monsters seems especially keen on positioning its cast as if nobody is too guarded by plot armor to be at risk.

Little Monsters #7 offers a superb juxtaposition of the children of the night to show the aging process the group's gone through.

Albeit touching at times, Little Monsters #8 doesn't do a great deal to move things forward. Still, that's not to say it's stagnant it moves backwards and sideways as opposed to forward to add even more background still to our ragtag vampire group.

After seeing more than one of the kids' origin stories inserted into the same issue, I realize I would've liked to have seen them spread out more throughout the earlier parts of the series.

Little Monsters has made a habit so far of dropping tidbits of knowledge and backstory on readers through its back-and-forth swaps between the present and the past, but issue #10 takes things a step further by relinquishing some big "aha!" moments.

Little Monsters as a wholeand as its name suggestshas constantly grappled with the juxtaposition of children being thrown into unimaginable situations of having a longer life than anyone else while still being frozen in a childlike state, but Little Monsters #11 capitalizes on that theme perhaps most of all.

Little Monsters #12 stands out as a rare sort of issue that makes you immediately look up the release date for the next chapter in the series.

The body horror parts of Lonely Receiver are subtle but effective in taking this love story in a new direction.

An uncomfortable look into the thoughts tumbling around a troubled mind makes up much of Lonely Reciever #2, but given the events of the first chapter, it seems like that's the only right way to follow up.

Lonely Receiver's slow burn has finally hit the end of the fuse. Where the past issues offered a pitiful look at post-breakup distress and dependency, this third chapter is a trainwreck of affairs you can't pull yourself away from.

The hopefulness of Lonely Receiver #3 has given way to desperation and a lack of self-preservation on Catrin's part in the fourth issue.

Lonely Receiver's finale aims to be both poetic and unnerving, though the former goal makes it feel a bit too dense and weighty at times for its own good.

It tackles contemporary problems without being too heavy-handed as well, a task proven to be quite difficult in any kinds of horror-themed stories like this.

Maniac of New York: The Bronx Is Burning concludes not with a bang but with a much more realistic and sobering end.

Some things are better left to the imagination or left as teasers to go along with the big reveals, a balance which future issues of Manor Black will hopefully succeed in reaching.

Manor Black finds a better footing and starts to take on a more concrete form in its second issue as we learn much more about Ari and a bit more about the mysterious Black family.

Manor Black #3 is an important and necessary issue for the story to move things along by explaining the laws of its magical universe we're temporarily inhabiting, but it's not a particularly exciting one compared to what came before it.

Something seems to have finally clicked with Manor Black. Perhaps it's how quickly the events of this issue spiraled out of control, or maybe it's because we finally got to see the full dangers and powers of the magical world, but Manor Black #4 shows that the series is on the rise.

It's filled with highs and lows of Spider-Man puns and humor that'll either make you grin or roll your eyes, and it's an important steppingstone to the day that we'll see what a fully-functional Spider-Man team can do.

It's difficult to think of another superhero team that could pull off the charming dynamic that Peter Parker, Gwen Stacey, and Miles Morales have together.

While this version of Spider-Man is geared towards a different than the more visceral depictions of Venom have been, it handles the character's introduction well by establishing his place in the power hierarchy of heroes, anti-heroes, and villains and depicts him as a larger-than-life character compared to the normal heroes like Ghost Spider.

Though filled with action, the main fight probably went on a bit longer than it should've where quips replaced impactful moments, but it at least had some imposing designs for Spider-Man's villains and sometimes-villains to back it up.

It gets a bit hokey towards the end when yet another character makes a surprise appearance, but it fits the tone of the series overall and neatly lays the foundation for future team-ups.

The comics within the issue that reference Captain Underpants and Thanos' "magical space glove" could stand apart as their own projects, but being a part of this particular formula makes the whole effort that much better.

This might also be one of the only times Spider-Man is seen in a battle royale game, and it's a strong start for the rest of the series.

Captain America has already been set up to be an integral part of the Marvel's Avengers game, and his Gamerverse comic solidifies that importance perfectly.

It might move the story of the upcoming Avengers game forward, but it doesn't do much for Hulk or Banner themselves.

The Avengers feel fresh, modern, and vibrant in the way that they're depicted here, though we'll hopefully see more personal moments with each member of the team even if the series focuses on Iron Man over others.

It feels like it'll be an important comic for those wanting more backstory on the game since it sets up the potential for discord within the Avengers team, but the dialogue between Thor and Banner during their quarrel just didn't feel genuine even if they were being manipulated.

Civil War: Marvels Snapshots #1 is a new take on the "anyone can be a hero" mantra, and it's one that would make Captain America proud.

You'll fly through the 80 pages found in Mastermix #4, but it's worth a second read right after to soak up all the details.

A synopsis of Miles to Go may make someone mistake it for a more generic story of sordid pasts and redemption, but the characters we've met so far do wonders to break the series apart from others.

Miles to Go has more potential in its second issue than it did in its first.

Miles to Go #3 is the best kind of origin story that Moses could hope for.

I'm sad to see the protagonists departing the small-town setting they've been in lately since it produced some of the most convincing and intimate artwork to ferry the characters through their brief pause in their adventure, but it inspires confidence in where the next chapter will go.

The dynamics between Amara, Alea, and Moses is one I grew quite fond of throughout Miles To Go, and in the apparent conclusion of this initial story, it's one that held up quite strongly.

Each of the three stories contained within offers much different takes on the hero that are sometimes trippy and sometimes depicted with more cinematic flair.

The earth-shattering fights might be what you're here for, but our guess is that you'll get much more than that out of No One Left to Fight #1.

No One Left to Fight found its groove quickly and has people hooked"now all it needs to do is show us what these heroes are capable of.

Vale's uncomfortableness with Winda at the beginning conveys itself so strongly that it's passed on to the reader as the issue melds together one emotion after another while further exploring the world of No One Left to Fight.

Four issues in and No One Left to Fight is still managing to deliver on its promise of being the comic you've always wanted.

Make no mistake: No One Left to Fight #5 is a fittingly epic conclusion to the series that delivers on its promise of being a full-on fight for the ages.

After the break between No One Left to Fight and No One Left to Fight II, one might've expected the sequel to start with"or at least showcase"a raucous brawl. That's not the case here, but the direction it took turned out to be a better route anyway.

More sci-fi tropes come alive in Outer Darkness #6 as the crew of the Charon contend with a demon that's hunting them aboard the wrecked ship.

In Outer Darkness #7, we finally get to see a slice of Captain Rigg's past, a character who we've been following since the beginning. That glimpse into history is of course marred with Outer Darkness' signature gore and grotesqueness, but it's moments like this leave us wanting to know more about Riggs and the entire crew.

Every page is beautifully crafted with uniform background colors that frame the action, and the scenes where rain mysteriously pours inside the ship are some of the most impressive ones that we've seen throughout the whole series.

As one of the most brutal issues in the Outer Darkness series in recent memory, Outer Darkness #9 finally blows the lid off a conflict that's been simmering for months.

It's filled with startling, abrupt moments until everything falls into place, but that confusion that accompanies those times exemplifies one of the best parts of Outer Darkness: We often know as little about what's going on as the crew of the Charon does.

The appeal of the Saturday-morning style of Outer Darkness still persists, so perhaps this is just an infrequent miss for the series that'll right itself when the next stage of the conflict unfolds.

The conclusion of the first season and second book of Outer Darkness managed to pull off a surprisingly successful twist and just may change your perspective on its characters entirely.

It's difficult to not appreciate the environments created in Project Superpowers: Fractured States which genuinely look like spooky ones to find yourself in regardless of whether you can remember anything or not.

Fractured States #2 confidently introduces a villain so outlandish that it constantly seems like a punchline is waiting in the next panel, but this clown is all business, apparently.

Rad Wraith gets surprisingly grim and graphic at some points with foreshadows of more to come, but not so much that it's overbearing compared to the quieter moments.

Radio Spaceman is, for lack of a more encapsulating phrase, very cool, and perhaps that's all he needs to be.

It's the way up-close moments like this are drawn and woven into humbling portrayals of monsters and brief but fluid combat sequences that makes Radio Spaceman such a succinct and enjoyable read throughout.

The first issue had a lot to set up, but with that foundation out of the way, it leaves room to tell an intriguing cyberpunk story of robots and relationships.

Read Only Memories does an excellent job of showing other characters and scenes around town just briefly enough to show that there's a vibrant world beyond the characters it focuses on.

Read Only Memories has some truly interesting settings and scenes to offer, but not being able to nail the execution of all of them diminishes their impact.

Opening in a flurry and ending on a much quieter note, Read Only Memories #4 gives some welcome closure to its characters' most pressing matters.

Every following issue should look to accomplish what Red Sonja #2 does.

The Red Sonja series understands that not everything needs to be explicitly shown, and even the moments of necessary violence that occur occasionally are shown in a subdued, mature way that avoids emphasis the grotesque.

Red Sonja #4 is another triumph, though it does feel familiar like one we've already seen before.

The consistent flashbacks and retellings of stories that we've seen throughout the series shine perhaps most brightly in Red Sonja #5, and as always, the issue strikes the perfect balance by shaping the present with the past.

There's so much to take in from Red Sonja that one read-through is hardly enough.

Birth of the She-Devil is the type of origin series we needed, it'll make you want to go back and re-read all of Red Sonja over again.

The series still has a great deal of potential though, so hopefully this is just a hiccup in the story that'll be resolved in later issues.

Turned up to an 11 almost throughout the whole issue, Red Sonja: Birth of the She-Devil #4 is a fitting end to the series.

The powers of the Cosmic Ghost Rider and the hero's spectacular transformations lend themselves to impressive displays already, and Revenge of the Cosmic Ghost Rider thankfully didn't squander those"or any"opportunities.

The second chapter of Revenge of the Cosmic Ghost Rider confirms what the first suggested: That this is going to be a story of carnage and cockiness with a bit of well-intentioned righteousness mixed in.

Where this issue shines is in its back-and-forth banter between Frank and his foe as each of them wax poetic about their brutal tendencies. The conversations would be long-winded if not for the way the story constantly breaks up the fights with flashbacks and more introspective moments, but with those elements combined, the result is a hard-hitting slugfest.

The comic's use of time travel is brief enough to not weigh down the story with convoluted timelines, and it's quick look back at the history of the parasite at the core of the story provided an impressively detailed and dramatic aside in the issue.

"Interdimensional Cable" is one of Rick & Morty's strongest recurring segments, whether it's happening in the TV or comic series, but that's unfortunately not the whole focus of Rick & Morty #47.

Rick & Morty #48 is a return to form for the series following the last issue that faltered with a focus on Jerry.

It's a setup that requires the characters to do something different despite being forced to do the same thing repeatedly, but the duo's relationship and the technological prowess of Rick make the formula work by allowing them to escape that box occasionally.

It's a promising checkpoint for a series that looks like it has many more strong stories to come.

Issue #51 doesn't step outside of the tried and true Rick and Morty formula, and that makes it a safe win.

Like we've seen with other issues that focus on side characters like Jerry, Rick and Morty is at its best when the two share the spotlight.

Each character's expressions and reactions shine authentically, and the shorter "Feel Bad Inc." story that returns to Rick and Morty is a succinct way to follow up the longer story which came first.

Rick and Morty should be commended for trying out different art styles in its long-running series, but I just couldn't get behind the style in the first story of #55.

Character designs and their fights have been tame so far"Rick did point out that these first adventures were made for beginners"but the conclusion of #3 shows the best is still yet to come.

Some creative battle scenes and schemes coupled with Rick's unpredictability proved to be the perfect companions for Birdperson's signature boringness.

Rick and Morty Presents: Jerry #1 has "Rick and Morty" in the name all right, but it unfortunately doesn't feel like it belongs in that universe.

The setting itself and the way it's depicted with diverse demons muddling through their day jobs and the fiery aesthetic that just glances off Rick are the most redeeming parts of the story, but if you strip those away, you've got a pretty generic Rick and Morty adventure.

Focus more on the hellish landscape and the plight of those two instead of another Jerry story and Go to Hell will stay heading in a smart direction.

Rick and Morty: Go to Hell tosses out plenty of jokes, but few of them stick.

Rick and Morty are nearing the end of their journey through Hell which is good news for them and good news for us as well.

Devil Rick was a nice touch as it's always a pleasure to see Rick transformed into something else to add to his many personas, but most characters looked stiff and lifeless beyond that even in their most active moments.

Rick's solo adventure looks to be the much more promising route to follow, but it mainly serves a distraction from the main story here in the first issue.

Morty's dragon quest doesn't read much differently from how it did in the first issue which isn't promising for future chapters, but we'll at least have Rick's misadventures to look forward to.

Worlds Apart didn't quite redeem itself by the end, but it ended on a higher note than some of the other chapters we saw.

The scenario where infected zombie-like characters invade O-Town is even handled well despite zombie outbreaks being a tried-and-treaded story by now, so much so that I'm invested in a Rocko story for the first time.

Rocko's Modern Afterlife #2 picks up the pace in the second issue and tells its story quicker without losing anything in the process.

With one more issue left to go, the finale will hopefully deliver on the experience it's been building up to.

Modern Afterlife is a book that grows on you as it found its stride, and it makes whatever Rocko spin-off that comes next one that's worth taking a look at.

Rockstar and Softboy is a wholesome and entertaining comic overall even for those who look at it and think they can't possibly be the target audience.

The Mystery Gang can clearly team up with anyone given how many crossovers they've had, but they pair up especially well with Magilla Gorilla's humor.

Seven Secrets #15 showcases an understanding of style and action its creators are obviously well-versed in.

Seven Secrets #16 does get points for its surprises, however, particularly during developments that progress much quicker than expected.

Seven Secrets has some explaining to do after this 17th issue.

Seven Secrets ended up tying itself together pretty neatly in its finale by connecting loose ends and bringing everyone front and center for one last sendoff.

Shang-Chi's future looks bright with this creative team guiding the character's story.

After debuting to a swift tempo in its first issue, Shang-Chi shows in its second it has no plans on slowing down.

While the Jiangshi may be the secret weapon of Sister Hammer, they're also shaping up to be one of the best parts of Shang-Chi overall.

A peaceful and enlightening graveside chat was a refreshing change of pace from constant urgency and offered some of the boldest and most imaginative sceneries we've seen yet in the series.

Shang-Chi #5 may not be the series' most visually impressive chapter or its best paced, but it is a fitting end to an even better series.

If either of these two characters have ever been one of your favorites from the Sonic universe, chances are you'll have a second favorite by the time this series is done.

The fact that the antagonist of this story can transform into different characters provides an easy and enjoyable avenue for showing off more of the Sonic universe while keeping the spotlight on the two stars.

It's off-putting even if it was incredibly informative and manages to convey its information and set up a climactic clash"it's just a shame that we couldn't see it done in a less cluttered manner with fewer characters and moving pieces.

Sonic the Hedgehog: Tangle & Whisper had a few loose ends to wrap up even though it only had two main characters, but it did so in a neat and tidy way to conclude the series.

Soulstream feels like what you'd get if you boiled down superhero origins and adventures and were left with the purest parts of both kinds of stories.

Whether you played Marvel's Spider-Man or not, the first issue of City at War is a promising bridge between Marvel's playable and readable mediums.

Its emotional moments are balanced out with the signature humor of Spider-Man, and it still hits hard even if you know what's coming.

The pacing of the story will still feel a bit rushed if this isn't your first introduction to the story, but it makes sense given the medium. If there were ever a downside to the fast-forwarded version of this Spider-Man story, it's that it's going to end all too soon and leave us wanting more. -

Marvel's Spider-Man: City at War #4 moves at a slightly slower pace than the rest of the series, but it's a necessary change to ramp up to a big conclusion.

Every issue in Spider-Man: City At War has done a superb job of making sure it was accessible to those familiar with the Marvel's Spider-Man game and those who weren't, but #5 is the first instance where it feels like this goal wasn't fully realized.

With breathtaking highs and gut-wrenching lows, this conclusion to the series is a brilliant one for Marvel's first big embark voyage into its Gamerverse.

It packs a lot"probably too much"into the Kushala/Johnny Blaze crossover. The characters don't have a great deal of chemistry with one another, but in a strange way, that actually works out as the story progresses.

Star is addressing some weighty themes and questions, and it's doing so quite gracefully.

Some of the slang where things like "omg" and "turbo ominous" are said don't exactly hit every time, but here's hoping that that part of the book grows on me since the rest of Star Pig is excellent.

Star Pig already got off to a fun start with its debut, and in its second issue, it finds itself even better like a cartoon that's been ripped straight from TV.

Star Pig hasn't faltered a bit yet, and it doesn't look like it has any intentions to.

The dialogue continues to be polarizing at times"for every five jokes that make you grin, there's one big faceplant"but Theo remains as charming as ever.

Star Trek: Year Five #11 has speed on its side as it races through a dramatic event aboard the Enterprise.

The conclusion to Soldiers is a satisfying one, though it is a bit difficult to come down off the high of the battle as the characters' stories are wrapped up.

Most everything else StarCraft: Survivors is solid though, so I'm eager to see where the book goes as long as Caleb turns out to be at the same level of quality.

Survivors still has a story and a supporting cast worth keeping an eye on, so long as it can create a compelling enough protagonist to guide it.

The artwork's ability to make the most battle-hardened soldiers seem frail in comparison to the protoss is an impressive feat, and there's at least one page that looks like it could be pulled right from the book and hung on the wall as propaganda for the nefarious species.

The ending comes off as supremely underwhelming, and as much as some issues have dragged on, it felt like StarCraft: Survivors maybe needed one more issue to build up to its inevitable conclusion.

There's surprisingly a lot of moving parts in this issue even though it doesn't advance the story a great deal on its own, and everything works cohesively to build up to the next issue.

It's got some interesting twists in it, and raises just enough questions to keep you hooked for the next issue.

Steven Universe continues to excel at flitting between different stories in issue #27 without doting on one character or avoiding another for too long.

Some worthwhile character development culminates in #28 which in itself is a critical part of enjoying Steven Universe, so it's still a decent issue even if it doesn't deliver on the story's setup.

If there was ever a "bad day" comic collection that you needed to stash away somewhere to pull out whenever you're feeling down, Steven Universe #29 needs to be in it.

The dialogue between Steven and Pearl isn't as strong as the conversations we've seen him have with other characters like Amethyst in the series, but it's hard to find anything actually wrong with this story.

Just about as wholesome as it gets, Steven Universe #31 is a charming chapter in the series.

Whether you see it as a recipe or just a low-key chapter in the series, Steven Universe #32 is a win.

This Steven Universe issue takes a charming and insightful look at fandoms and the different ways people approach their favorite shows, movies, or whatever else they might be into.

Conversations are used sparingly to let the artwork tell the story where appropriate with the perfect effect of letting Steven Universe's expressive characters guide the tone.

Seeing Bismuth tear through vehicles with noble intentions and somewhat expected results is a treat, and the issue does an excellent job of wrapping up the story too neatly without spending too much time on one part or another.

Having essentially only two characters in this issue means that the expressions and depictions of these characters have to be consistent throughout, and this Steven Universe didn't fail to deliver.

Multiple stories with clear beginnings and ends are wrapped into the first issue, and each one feels different from the last both in their styles and the themes they explore.

Taskmaster #1 gets right to the point, and by the time it does, you'll already be looking to find what happens next.

It's hard to imagine Taskmaster at a lower point than the aftermath of his Hyperion fight, but if there's anything that remained unbruised afterwards, it's his confidence and resolve.

A montage of mimicked superhero moves dug up from his memory is as fitting a visual for his powers as one could imagine, though I do prefer the wit of a more desperate Taskmaster more than the direction he's turned towards.

We can only have so many Black Widow cliffhangers before it gets old, however, so hopefully the next issue or so will offer a similar payoff considering how the threat of Taskmaster's looming adversary has grown over the course of the series.

Taskmaster #5 is the type of conclusion that'll make you want to read more about Taskmaster's past conquests and look forward to his next ones.

Seeing Cyborg deal with a zit isn't exactly the most compelling follow-up to "Weirder Things," but there are still a few laughs to be found occasionally thanks to the team's dynamic.

The Last Witch is a bit predictable, but in a charming, Saturday morning cartoon kind of way.

It's brief dash of excitement to kick things off was appreciated, but the commotion ended up a bit more hectic than expected due to some cluttered and sometimes unclear scenes that depicted the action.

The Low, Low Woods throws a lot at readers in its first issue and takes some time to ease into, but the relationship between El and Octavia becomes a more compelling one as we learn more about the pair and the rundown town they find themselves stuck in.

I think I'm more invested now in the town of Shudder-to-Think rather than the relationship between Octavia and El, but the pair have a meaningful enough and compelling dynamic that they work well in this creepy setting.

. Its body horror is just the right level of unnerving, a level that should be maintainable so long as its balanced with the right amount of mysteries and revelations to keep people invested.

The Low, Low Woods seems to alternate whether it's the paranormal suspense or the relationship between El and Vee that takes the spotlight and dominates the issue.

It's a realistic if not disappointing outcome to see the offenders who've inflicted trauma throughout the series never truly get what they deserve, but at least El and Octavia are able to find some closure in the end alongside each other, even if that closure came at a personal cost.

I Pledge Allegiance to the Mask seems like it has something to say and show that's worth reading, and hopefully it remains captivating enough to deliver on its promises.

Whether you read this series as a parallel to modern politics or view it in its own bubble, I Pledge Allegiance to the Mask is not off to a strong start.

Nuance is not I Pledge Allegiance to the Mask's forte, but that much was clear even before the series released. What's been surprising though is how unfunny this story of The Mask is despite irreverent, dark humor supposedly being one of the comic's strengths.

Off to a tremendous start, the series offers temptations not only of exploring planets previously unknown but also examinations of the most relatable and compelling parts of Thor.

Galactus continues to steal the show with his world-devouring abilities that are just as spectacular as his grand entrance in the first issue, and with more planets and struggles to go, his intense design and actions should continue to impress.

Thor #3 is an all-out brawl, and it's one that doesn't disappoint.

Thor #4 boasts several successes, but one of the most important ones is how it manages to convey just how devastating the Black Winter is.

Action scenes are sparse in the issue aside from one which was supposed to be a significant event, but it lacked the "oomph" one might expect from a multi-issue build-up.