Chase Magnett Comic Reviews

Stokoe is a cartoonist who both adores genre and studies his craft. This is what makes him the perfect artist to tackle an adaptation like Aliens: Dead Orbit. The chills and style of films are captured through Stokoe's own eyes. The gap between the thing and the thing itself is closed because Aliens: Dead Orbit #1 is not an imitation, it is its own work of art " and a thrilling piece of comics storytelling.

The final installment of Batman: Creature of the Night completes a fine companion piece to Superman: Secret Identity, well-considered, brilliantly illustrated, and deeply humane, even if it might be wise to re-read the first three issues before returning to the finale.

This brief run on Bloodstrike is unlike anything in comics, and we're lucky to have this retroactive history.

The action sequences are simply unbeatable in comics today and Fiffe manages to reimagine at least one common trope in a manner that will leave jaws on the ground.

Border Town #1 declares itself one of the best new comics of 2018 with an entirely earned sense of bravado.

From the slightest character notes to the boldest monsters, Border Town remains an absolute winner.

Border Town continues to astonish on every page and shows no sign of stopping.

Casanova is back and its so damn good.

This is Russell at his absolute best, hammering on a wide range of issues through a lens that feels like it shouldn't work, but absolutely does.

Godzilla in Hell #1 delivers on exactly what is promised in the title. It's big, dynamic, violent, and oddly soulful. Stokoe is a consummate cartoonist of spectacle, paying exacting attention to every panel and consistently delivering big moments. This comic is a delight to read and read again.

There is something really, truly, genuinely exciting about Gotham Academy and I cannot wait to read more.

What places this one-shot over the top though is its choice to provide no easy answers, embodying an ongoing battle from which the B.P.R.D. cannot save us.

Rather than reducing itself to didacticism or platitudes, Ross and Busiek provide readers with the experience of the joy, hope, and sometimes fear that comes with change, ultimately encouraging superhero readers everywhere to embrace a better future, rather than wage war for the status quo. All of that accomplished in only 16 pages? That's truly marvelous.

For all of its philosophical waxings on how we shape our own decisions and how our environment shape us, the comic still kicks a lot of butt.

It is certainly one of the best single issues of 2018 thus far.

It is a masterclass in craftsmanship that reveals both O'Malley's personal growth and that of his collaborators. More importantly, it is a story that feels and is deeply human. It reflects upon our relationships, jobs, hobbies, and how all of these individual components of life come together to create the place we call home. It acknowledges the mistakes and frustrations that come with living and provides a parable for transcending an obsession with things that went wrong in order to put forth the wonder of the home we create in the process.

In a week filled with ongoing stories of superheroes, Silver Surfer Annual #1 reminds us how much can be accomplished in a single issue and how special the Surfer is within the Marvel pantheon.

There are few better compliments to be paid to a comic and, if the rest of Silver Surfer: Black maintains this momentum, readies this story to join a pantheon of classic Silver Surfer tales and artists.

Come back on Friday for Starlight: Resilience, Hope, and Optimism a deeper look at Starlight and its place in the Millarworld line of comics.

I've avoided discussing this issue in too much detail not to avoid spoilers, but to encourage you (yes, you) to go read it. Stray Bullets is simply too well crafted and too important to be ignored.

Harley didn't just kill the world's first hero that night; he killed his first hero, too. And he would spend the rest of his life trying to fix it. He would spend the rest of his life trying to create heroes, trying to save the world. But he can't, because that is a job that never ends.

Wytches #1 is a deeply personal horror story and that is what allows it to be so effective. It is written from a place of love, as both a husband and father. These are the fears that can exist when love is present, preying on the feelings and people who leave us most vulnerable. I cannot wait to see where this goes next.

Its important to remember that The Fade Out is not Brubaker and Phillips work alone. It is the work of Breitweiser as colorist, Lopez as flatter, David Brothers as editor, and many others who helped bring it to publication. When admiring The Fade Out #4, its worth lingering a little while longer on each panel and examining how colors bring this story to life. The Fade Out is one of the best looking comics being published today and thats an accomplishment shared by everyone involved.

If you're looking for catharsis or clear answers, The Fade Out #12 is going to leave you still looking. That sense of disappointment is exactly why it's great though.

Occasion of Revenge ends on a mic drop. Powell is aware of what has been done and recognizes there will be no catharsis or relief. He has created a shift in the story so damaging that no words can express what has just been shown. There is no "The End" or "To Be Continued"; there is no need. This is the cut to black at the end of The Sopranos, leaving the audience to sit uncomfortably with what they have just experienced. The Goon will return in 2015, but the series and its characters will never be the same. Like Powell, they are evolving, changing, moving forward into whatever terrible darkness is yet to come.

The Seeds #1 is nothing less than an exceptional comic book, the sort that reminds us what art can achieve even in its mere introduction.

Aja's choice of imagery, starting with a tortoise entangled in six pack rings, is haunting throughout and will leave The Seeds in readers minds until the next issue arrives.

The White Trees has reminded at least one reader how reading comics can feel like pure magic.

The White Trees uses grandeur as a vehicle to discover the humane, and in doing so delivers one of the best fantasy comics of 2019.

Whether a given reader enjoys all or none of these installments is beside the point. Twisted Romance is presenting some of the most interesting and talented creators working within comics today, and what they provide to this collection is representative of just why that is. It is not simply a matter of liking these pieces, it's that they are all worth discussing and re-reading. It's a stellar first issue of an anthology which clearly understands the purpose of this format.

Gwenpool #25 is delightful purely on its own terms, remaining the fun-loving series that embraced the zaniest corners of Marvel every chance it had.

Wytches is the scariest thing you will read all year. You'll want to look away, but will find it impossible. So turn the lights on, lock the doors, and don't look outside. Wytches is coming.

This is the promise of the summer's dual mini-series fully realized and everything I want from X-Men comics going forward. Bravo.

All superhero comics might have the potential to be magic, but Bring Down the House is absolutely filled with the stuff.

Bring Down the House #2 effectively shifts its tone between excitement, humor, and terror between panels, but every moment will leave readers wanting to discover more, no matter how dark the story may grow.

Step By Bloody Step #1 is, simply put, a masterclass in visual storytelling.

The journey of a girl and her giant continues in Step by Bloody Step #2 in an issue every bit as striking and enthralling as the series' debut.

Step By Bloody Step #3 is a masterful work of comics art.

Step By Bloody Step refuses to serve up cliched pablum or comforting answers, but instead chooses to confront its essential question directly with eyes wide open. How do we persist in this world? Words cannot suffice, but our actions might.

20th Century Men is quickly becoming one of the 21st century's very best comic book series.

Like every issue before it, 20th Century Men #5 will leave readers anxious to discover what comes next, but they will have plenty to contemplate in the interim given both the hope and despair evoked in this excellent issue

20th Century Men is a brand new vision that draws readers to interrogate the globe and their own soul through a mastery of the form. A masterpiece.

COPRA #1 is a masterclass in comics storytelling, a must-read issue whether it's your first or thirty second issue.

COPRA #2 is a roundhouse kick to the ocular nerve, increasing stakes without forgetting its sense of humor (and the unadulterated joy of action comics). It doesn't get much better than this.

Even an interstitial issue like this one can feel essential in COPRA where no page is ever without purpose.

This issue sets up a lot of what is to come in COPRA, but reminds us all that the reason we're reading is for this brilliantly illustrated set of characters who are at risk when the action returns.

With the promise of a long saga ahead, COPRA #5 delivers a perfect introduction to its next big story.

It is one of the most compelling comics I have read all year, carefully pacing the turns of pages so readers might believe they can catch a breath before coming upon another page so impactful that it alone could define an issue of another series.

Flavor #1 is everything that a first issue ought to be. It does not simply offer readers a thesis statement and sense of story to come. It delivers its style, setting, and characters intact from the very beginning.

Flavor is one of the most imaginative and enthralling new Image comics in years, one that seems capable of delivering a great dish with every issue.

Delight, drama, tension, and mystery are all evoked with seeming ease throughout this thrill of an issue, a third installment that again declares Flavor to be one of the best new series of 2018.

Flavor continues to be one of the most colorful, inventive, and engaging new series of 2018; a must read for any fan of Image Comics.

It is yet another reminder of the potent range and abilities on display in this series, and why Flavor is one of the must-read new series in 2018.

It's a stunning end to a stunning issue, a perfect wrap up for the first collection of one of 2018's best new series.

It's another reminder that Rumble is one of the absolute best series being published today.

Rumble is nothing short of remarkable.

Rumble fans rejoice; the series is back and as excellent as ever.

The island discovered in Rumble #6 is already presenting great new opportunities for characters to show off new aspects of themselves, even as it builds upon the series' mythology and visual dictionary in notable ways.

Giant monsters. Ancient love stories. Hydras and dogs frolicking. This is an issue that runs the gamut from hypermuscular action to ridiculous frivolity and nails every note in between.

. If this is the bar for the current arc of Rumble, then future issues cannot come quickly enough.

Rumble #13 is yet another stunning issue in a perfect climax to the series.

With only one issue left in this story, it promises to be the crown jewel of this already dazzling collection.

Whatever comes next, this ending manages to capture the bittersweet nature of finite stories without forgetting that imagination is always unbounded.

This showcase is a treat for Rumble fans or any comics reader looking for thrilling, concise tales of battles long ago.

Rumble isn't a rising star, it's already one of the best collections of talent and new ideas in comics today.

Reading invites rereading, and The Rat is generous with ideas and style upon further review. It's a comic as complex as the form it inhabits, and that is an awe-inspiring experience.

Even as each page demands extended attention, momentum is building in this story towards secrets with shadows that cover everything on the page in darkness.

Pretty Deadly: The Rat is a comic that demands your time. Rushing through this issue, or any of the series so far, seeking out word balloons and plot misses much of what makes this essential reading.

This descent into darkness renders the unimaginable as something mentionable, and offers a beautiful journey into darkness that is simultaneously unique to everyone who experiences it and universal.

Pretty Deadly remains one of the best (sometimes) monthly comics around and "The Rat" is its best installment to date.

Kate's adventures in Los Angeles have been a thrilling interlude. They've managed to both maintain the overall tone of the comic, while telling a story that is entirely its own. It gave Fraction an opportunity to explore detective noir (in addition to his work on Satellite Sam) and Wu a chance to show off her design skills. This story has been outrageously fun and surprisingly potent, but it has come to a close. Now it's time for Hawkeye to do the same.

My emotional response to Hawkeye #21 was intense. From the anxiety at the start to the excitement of the battle and finally the dread and pain of the end" It all feels real, and that's because it is. Aja, Fraction, and Hollingsworth are all musicians. They are making perfect use of the comics form to create emotion. No matter how loose or organic the experience may be, their choices are exacting and precise. They are masters of their art and the result is enthralling, pulling you in and refusing to let go until the final page is turned.

In addition to an intriguing premise, Primordial #1 brings ambitious and innovative comics storytelling from artist Andrea Sorrentino and writer Jeff Lemire in a story that's as much about the present as the past in its examination of humanity's place on Earth and amongst all living things.

Sorrentino and Lemire use the visual language introduced in Primordial #1 to twist space-time and shift perspectives so that few words are required to explore the dog's journey. Even as they provide the animals with some recognizable language, the majority of communication is visual with precisely selected panels and clear expressions across multiple styles.

Yet what is most impressive about Primordial is that the human characters are, at most, peers to the animals in space. And the way these animals deliver their story, one driven by both history and science-fiction, is nothing short of astonishing.

Whatever comes next, it's clear readers have not yet seen the limits of this creative team's ambitions in Primordial.

Even if the final page overreaches into the realm of melodrama, the overall effect is too great to fret over that.

Primordial is a triumph of comics and the animal spirit.

Shutter is not returning until December. That's bad news for me, but good news for anyone who hasn't been reading this comic. It gives you plenty of time to order the first volume or track down these issues and catch up on dinosaurs, ghost ninjas, alarm cat, and all of the wonderful ideas found here. Don't wait. Shutter is that most potent comics combination of big imagination and impactful storytelling.

Shutter #9 is many things. Its a rich fantasy world populated with fascinating characters and a layered history. Its a fast-paced drama with plenty of twists and turns. Its a brave moral statement about the cost and cause of violence. But before all of that, it is a story about people. Kate and Chris are two individuals who have changed dramatically in less than ten issues. Every decision they make further alters who they are and drives their stories. No matter how crazy Shutter may appear, its heart is human.

Cartoonist Juni Ba's The Boy Wonder leans into that meta-knowledge of these characters and their frameworks to present a genuinely iconic take on one of the relatively recent additions to Batman canon: Damian Wayne.

As the miniseries shifts its style and aesthetic to cover darker material, it makes clear how effectively Ba's artwork can showcase the best and worst of humanity. And it's evident that although The Boy Wonder functions as a showcase of Batman's supporting cast, it works even better as a fable unto itself in which readers can discover and explore an array of perspectives on family, identity, and self-worth.

Whatever comes next as the story prepares its climax, it's already apparent that this bildungsroman has uncovered what's best in Batman's supporting cast and is capable of presenting those ideas with unparalleled style.

While Damian's final battle still lies ahead in The Boy Wonder #5, issue #4 makes clear why the character resonates with readers and delivers a timeless saga of the terrors and wonders of growing up in such a demanding and too-often unforgiving world.

Much like the components of a spell, Dead in America #1 is ultimately about potential. The characters, their dynamics, settings, themes, humor, and style are all displayed, and they are all impressive.

While readers familiar with Saga of the Swamp Thing and Hellblazer will benefit from how this new saga is in conversation with those classics, all that is required to appreciate this issue can be found on the page in a terrifying sophomore outing.

It was already obvious that Spurrier and Campbell were effective critics of the United Kingdom's current crises, but here they show themselves every bit as adept when addressing the United States.

Even as ghost stories remind us of the worst of our past, there remains a consideration of what should be done now and Dead in America #4 makes an incisive case against falling into despair.

Spurrier and Campbell have presented an insightful perspective on modern myth-making in the United States examining the many horrors of empire. In Dead in America #5 they carve out space to clarify just how rich their conceit is delivering three outstanding short stories from a collection of artists whose different interpretations of the southwest all resonate with readers who know the environment.

It's another superb issue of John Constantine, Hellblazer and one bound to keep comic book readers talking as they await issue #7.

Aaron Campbell's depictions of crimes, both mundane and supernatural, is simply chilling offering readers just enough form to understand exactly what they are seeing and filling panels with agonizing linework and suggestions to inspire further nightmares.

Jimmy Olsen #1 is the rare superhero comic that not only acknowledges the immense potential of its medium, but throws a lasso around its neck and leaps onto its back to see how far it can be ridden.

Without the typical narrative drive often found in superhero comics, the series becomes a study in character and style, one that does not disappoint even as it ignores the obvious next step to spend time exploring Metropolis and Jimmy's psyche.

It feels like these stories in all of their tonal complexity can only continue to soar up, up, and away.

Whether you're looking for smart or entertaining superhero comics, Superman's Pal Jimmy Olsen is the best place to start, as it never falters on either account.

Superman's Pal Jimmy Olsen remains one of the best superhero comics on the stands today, especially when it indulges the absurd.

Superman's Pal Jimmy Olsen is some damn fine comic-bookery.

It's a dazzling display of humor, intrigue, and an abiding love for the superhero genre, but one would expect nothing less after six stunning issues of the same. Bravo.

Superman's Pal Jimmy Olsen #8 is packed with delightful page turns, delivering unexpected visual gags and twists that all add up to the promise that there's still a lot more hilarious goodness to come.

It's another wonderful installment that manages to be a cerebral delight and still offer plenty of the plain silly.

As characters collide and the end approaches, it's impossible to anticipate what comes next, but the final few pages of Jimmy Olsen #10 promise it will remain a laugh riot.

It's difficult to tell whether Superman's Pal Jimmy Olsen can provide a satisfying conclusion, but this issue is a reminder that the journey was pure joy.

There's a clear sighted sensibility to the series optimism, as it celebrates an idea of who we are that's very much worth believing in.

Any reader who loved the pages of Superman's Pal Jimmy Olsen or appreciates Superman's inspirational charms is bound to adore this lovingly crafted anthology focused on Metropolis's greatest newspaperman.

If the rest of Clue: Candlestick is as charming and challenging as its first issue, then it might be time to reassess the original game given the quality of adaptations it has continued to inspire.

With only one issue left to go, Shaw promises a satisfying conclusion, one that has he already laid out through his puzzles and careful attention to detail. If #3 meets the high bar set by this issue, then Clue: Candlestick may be the best mystery comic of 2019.

The conclusion of this enthralling mystery does not disappoint, fulfilling every promise offered by the incredible first issue.

If You Find This, I'm Already Dead #1 is an engrossing introduction to a sci-fi odyssey without an ounce of fat on its bones.

Readers would be forgiven for believing that the debut of If You Find This, I'm Already Dead laid out the series' entire premise; it condensed a tremendous amount of worldbuilding and exploration into a single adventurous issue. If You Find This, I'm Already Dead #2 makes it clear that was only the start of this rabbit hole and readers can anticipate the same thrilling expansion of concept as Robin's saga continues.

Regardless where readers focus their attention, If You Find This, I'm Already Dead delivers on the promise of its first issue with a finale that's satisfying on every level.

With wondrous depictions of simple recipes, deep-seated emotional experiences, and a sense of wonder at the mundane, it summons an odyssey of memory bound to remind readers of the most profound flavors from their own past.

Given the ways in Rare Flavours #2 both reaffirms the series' interests and expands its concept, readers ought to expect both delicious variations on this story and many more surprises ahead in one of 2023's best original new concepts.

Rare Flavours is a journey of discovery and issue #3 promises that it will never rest on its (already notable) laurels.

The miniseries has been a wonder to behold so far, but it's in Rare Flavours #4 that it finally showcases a powerful thesis on what makes our appetites a wonder.

Every image of food crafted at a cart or the great cities occupied by so many of those carts suggests a million more stories and recipes beyond the beauty found in this small sample, and affirms the sense of wonder found throughout Rare Flavours.

Rare Flavours is a comics dish bound to keep feeding the souls of readers for many years to come.

The miniseries' debut this week showcases two resplendent styles intricately woven together to immerse readers in a setting and headspace they won't want to leave, even as it grows ever more disquieting.

With every page composed as a spread, the darkening shadows surrounding Cloonan's sharp linework and increased clarity of form in Lotay's fantastical watercolors suggests a detachment from reality. It is an impressive, informative, and absolutely gorgeous feat

Somna serves as both excellent historical fiction and romantic-horror in a story that's bound to capture readers' dreams and nightmares for many years to come.

As a start, Suicide Squad: Blaze packs all the promise Squad readers could want, whether they're being diverted from HBO Max or longtime fans of the original series.

Suicide Squad: Blaze #2 goes to show the magic made on John Constantine, Hellblazer was no fluke because the team behind these books are showing just how much brilliance can still be mined from DC Comics' many characters.

Each installment of Suicide Squad: Blaze has raised expectations considerably and it's difficult to imagine how the final issue might one-up killing the entire Justice League, but it does.

By the issue's end, the three women of this adventuring party possess clear interpersonal dynamics, distinct combat abilities, and a personally and politically engaging quest; it's everything a reader could hope to find in a fantasy comic book as The Whisper Queen #1 promises to expand upon one of the best in recent memory. -

Even as a middle chapter, The Whisper Queen #2 provides plenty of pathos, suspense, and splendor making it clear that no space will ever be wasted in Zdarsky and Anka's fantasy saga.

The Whisper Queen #3 delivers readers both a satisfactory conclusion and undeniably enticing introduction in the miniseries' final issue.

Whatever comes next, Friday delivers a near-perfect introduction and leaves us with the welcome promise that there will be another chance to enter King's Hill, and briefly escape the confines of quarantine, very soon.

Friday returns to fill readers in on the foundational friendship between its titular hero and Lancelot Jones. The context enhances the first installment a great deal and offers readers plenty to consider about the current mystery, even if that mystery only returns in the final pages of this 39-page issue.

This is a comic to watch, one filled with seemingly limitless potential and a team of creators all delivering their best in a story unlike any they've touched before.

Friday #4 undertakes the difficult task of contemplating death at far too young an age amidst a taut supernatural mystery and delivers something both stirring and suspenseful - an impressive feat.

Whether it is guiding readers on a careful chase or slowly unraveling cues and signals carefully hidden throughout the story so far, Friday is delivering on the promise of its ever-growing conspiracy and I cannot wait to see what comes next.

Although the mystery remains intact, it seems all of the pieces are in place for a potent climax as time travel, summoned monsters, and childhood friends find themselves bound up in one of the most enthralling comics of the month.

The penultimate installment of Friday is primarily focused on connecting the pieces of its mystery, whether they be related to Lance's murder, time travel, or newly emerged monsters, to frame the final chapter. And I suspect only that final chapter will be able to inform the success of this connective tissue.

There's a lot of ground to cover in the final installment of Friday, but the Panel Syndicate publication model provides the issue space to sprawl and delivers a finale bound to both thrill and satisfy readers.

There's little doubt that this was the ideal creative team to update this familiar legend and reaffirm all of it's horrifying potential.

Although this story may be familiar, the vision of Dracula found in Universal Monsters: Dracula is stunning in its novelty.

While the story of Dracula is familiar and this particular source nearly a century old already, Simmonds' work reminds us why Dracula remains ever-relevant in horror.

Universal Monsters: Dracula is a testament to the undying power of the vampire metaphor and how each new generation of artist is capable of finding new terrors and value from within it.

It's worth reading as saying anything more would be to spoil the experience and this issue is an experience, even as it attempts to return to normal.

Following the massive revelation of #6, this issue does a good job or reestablishing a status quo. Every moment reminds readers who the protagonists are and what roles they play.

While even greater things await on the horizon, but for now this issue provides a much needed breather.

This is one of the true turning points in the stories of the B.P.R.D. and it will have repercussions for years to come.

No recent issue in the Mignola line of comics has better captured the entropy of Hell coming to Earth than this one; you have been warned.

Beta Ray Bill #1 makes a clear statement that almost 40 years after the characters debut in The Mighty Thor #337, there are still many incredible tales left to tell.

There's not a single page of this comic that is above note and so all I have left to say is: Do not sleep on Beta Ray Bill. Fun, furious, and fraught in equal measures, this comic book packs the power of Stormbreaker in every page; it simply cannot be missed.

Beta Ray Bill #3 is a definitive middle chapter and it provides a perfect proof point as to why that is not an inherently bad thing.

Even as Johnson focuses on retelling and reworking Marvel Comics' continuity, he remains focused on the ideas, style, and story that have made Beta Ray Bill one of Marvel's best comics in years.

If there is no more to come in this story, Beta Ray Bill will remain an outstanding piece of spectacle with some of the best pages produced at Marvel Comics in 2021. However, readers will likely be left hoping Johnson plans to continue Beta Ray's story as issue #5 ends with an interlude rather than a conclusion.

Despite that misstep, Chew #45 is another great installment in the series. It provides all of the twists and heartbreak of a great tragedy, without losing the wacky, comedic tone that defines the series. Layman and Guillory walk a tightrope to craft what is the best written funny book currently on the stands.

Chew #50 is a lot of things. It's funny, action-packed, surprising, and a joy to read. But above all else, it's just really bad ass.

After an introduction filled with blood, mud, and poetic waxing on the nature of violence, Lost Soldiers focuses on developing its characters above all else. It's an approach that enhances the underlying themes and split timeline far better than most too-clever-by-half comics conceits manage in 2020, and it offers a deeply compelling story focused on images that are difficult to witness.

It's a disorienting, but never confusing, read and one that embeds readers firmly in a state of mind.

Lost Soldiers #3 does not hesitate to grapple with the terrible realities and costs of violence, both its impact on the human body and the more difficult to discern impact on the soul, and in doing so delivers on all of the promise found at the story's start.

Throughout it all, Heather Marie Lawrence Moore is a star. Her colors bring the worlds of modern Juarez and the Vietnam War together and define time as a flat circle describing the cycles of endless violence playing out before readers. She elevates Lost Soldiers into the realm of comics poetry, and makes issue #4 one of the most stunning reading experiences to emerge from 2020.

Lost Soldiers #5 is a transportive experience and possibly even a transformative one; it opens a window allowing readers to imagine what the real cost of these terrible actions and events may be, and assures them that whether or not any of it is true, it's honest.

Together, the stories of Mari and First Knife define a world that blends the desperation and lost promise of Mad Max with the engrossing world of feudal Japan depicted so well in Kurosawa films.

Protector offers an immersive experience. Rather than telling readers how history has reshaped North America over so many centuries, it embeds them in the moment and that moment is deeply rewarding.

Protector is one of the great comic book discoveries of 2020"a tapestry of alien ideas and manifold stylistic touches offering up one of the most engaging and oddly human new stories of the year.

In spite of the gore, Protector #4 is a beautiful issue of comics and a testament to the depth of this outstanding new Image Comics series, even as it prepares to conclude.

Protector summoned a vision of humanity that, much like Dickinson's description of hope, are capable of taking flight in spite of their fragility. The result is one of 2020's most honest comics.

Saga #24 changes the rhythm of the series and alters the landscape of the story, all while providing the same incredible standard of storytelling fans have come to expect. It's a reminder as to why this series is so well loved just in time for its next hiatus. The wait will be long, but Staples and Vaughan have proven time and again that the new issues are worth the long months away. It's a perfect time to enjoy the newest issue, and then start again from the beginning.

There is a lot to love in Saga #25 beyond these initial pages. Its frightening and funny, endearing and engrossing, clever and colorful. Its everything weve come to expect from Saga. Yet these first five pages serve as an important reminder that this is not only a wild space epic, but a story about all of us and the world we live in. Saga does not exist in a vacuum. In its characters and history we see our own. It is not only a beautifully told tale, but one that helps us to understand our history and ourselves.

While the pacing and design of Saga #37 may be familiar (bordering upon formulaic), its focus is fresh. This particular arc has already received a title, a rarity for this series, "The War for Phang". The reason why is immediately clear. While previous stories focused on the movements of this series' expansive cast, in this issue they are introducing themselves to a larger, ongoing story.

Saga possesses enough self-awareness to know that readers will be on pins and needles walking into the final issue of any arc and respond to that dreadful anticipation.

In some ways, Saga #65 reads like a flex as it reminds readers this series can still break their hearts as beneath all of the excitement are characters invested with life. Saga #65 is an impressive issue and one that will leave many ready to slow down.

Whether or not the new concepts introduced in this issue will pay off is a story likely years ahead of us, but the introduction makes the sort of bold promise that originally set Saga on the map and promises that the series still has plenty of good road to travel.

Although recent hiatuses in Saga's publication have led to some feelings of frustration, it's impossible for me to look at Saga #67 and think it was not worth the wait. It is still the same wondrous, exciting, and often-heartbreaking series that's kept readers returning to watch its heroine Hazel grow, year-by-year, toward adulthood.

All Against All has provided readers a fascinating riff on apocalyptic sci-fi with a setting and species that reflect humanity with strange clarity, and it appears well staged to stick the landing in its finale.

The violence in All Against All #5 is painful to witness and that speaks to the power of this stunning sci-fi series questioning the nature of humanity and our relationship with the natural world.

Plenty can be said about the thematic hooks and character pieces set up in All-Star Batman #1, but it is a comic that is at its best and most interested in its genre. Even the exploration of secret histories, redemption, and mentoring all are core themes to the genre itself. This is a comic filled with great costumes, thunderous fights and chases, and plenty of bigger-than-life concepts. It is a comic that even at its darkest revelation is still fun (at least in the lead story). It is a comic that looks every bit as cool as you want a Batman book to look. In that regard, it has the potential to be the best Batman comic any of these creators have ever worked on as it possesses a clear understanding of both the character and the world he operates in. It is far too early to make that sort of declaration, but it is exactly the right time to check out All-Star Batman.

Ant-Man #1 is that perfect debut that manages to both introduce the character to unfamiliar readers and tell a compelling story in the course of a single issue. It is a caper that transforms a comedy into an emotionally invested drama and a seemingly straightforward superhero story in New York City into something much more exciting and original. It starts by giving readers what they want, and then delivers something far better. Spencer and Rosanas have created a great start here made all the more exciting by how much the series has yet to grow.

Together these creators are crafting a new Ant-Man tale that not only reflects the character's long history, but the history of Marvel Comics in a story already bound to astonish readers new and old.

I've long been fond of the least-famed Ant-Man, Eric O'Grady, and his (ironically) short run of titles beginning with The Irredeemable Ant-Man. Ant-Man #2 captures the magic of that series brilliantly and in such a fashion that it continues the meta-narrative begun last month in deft fashion.

It's a heart-warming tale and one that sets this increasingly ambitious series up for a truly grand finale.

Ant-Man proved to be a colorful celebration of one of Marvel's underrated protagonists and a wonderful showcase of two top talents capable of constructing a miniseries unlike anything in comics today.

If you're still wondering whether the editors at Dark Horse and Archie Comics lost their minds teaming up for this series, stop. This is an idea that only seems crazy until you read the results. Archie Versus Predator #1 is a comic that only captures what makes these franchises great, b

Batman Universe isn't about some grandiose philosophy or intense personal statement here"although the character's history still holds meaning"this series is about telling the best Batman story imaginable, and that's exactly what it is doing.

Batman: Universe serves as a love letter to both the DC universe and Batman's ability to adapt to any genre or setting. Superhero comics are rarely any more fun than this.

Batman has not been this much fun to read in years, and Batman: Universe continues to be the perfect introduction to a character that is so much more than the darkness surrounding him in other modern stories.

Each installment of Batman: Universe continues to thrill in a variety of ways marking it as the must-read Batman comic to read 2019. There's simply nothing better out there.

Even with some notable flaws, Batman: Universe delivers one of this week's best pages in a spread that details a submarine's innards and the adventure occurring within. It's the sort of storytelling that reminds you why you love superhero comics.

This is a Batman story that recognizes why the character can go anywhere and appeal to almost anyone; it's incredibly fun and a fitting conclusion to the best Batman comic of the Rebirth era.

Black Magick #1 is a top-notch debut from Image, the most inventive publisher in comics today. It delivers on character, premise, artwork, and ideas, a comic that can satisfy any reader looking for a great crime or horror story. Wherever the mysteries of this debut lead Detective Rowan Black, it's bound to be a satisfying read.

Theres a lot to like in the debut of Bucky Barnes: The Winter Soldier. Every collaborator involved is bringing their best work to the comic and it shows. Together, they are telling a story that is unlike anything else on the stands.

That connection is an uncomfortable one, and it's intended to be. Brubaker and Phillips have never pulled any punches in Criminal. Their heroic figures are always destined for a tragic end, and the ugliest characters they present tend to enjoy success. The irony and cruelty contained in Criminal isn't just a play at classic EC crime comics though, it's a funhouse mirror reflection of humanity. Criminal Special Edition isn't a story that we are supposed to be able to view as pure fiction; that's Zangarr's tale. The world of Teeg Lawless is the same one we're trapped in, one filled with criminals and comics fans just like us.

Damn Them All returns this week and makes clear that the best new horror series in all of comics isn't going anywhere, but it certainly promises to get even wilder as angels enter the picture.

Reading Damn Them All #8 it's impossible to resist the urge to continue down the rabbit hole, even as Ellie advises against it, because Damn Them All is a series with enough ideas, style, and heat to run for a very long time.

For any fan of Doctor Doom, Doom #1 is an obvious triumph that presents this comics icon at their absolute best.

This penultimate installment is another outstanding presentation of a one-of-a-kind comics style with a surreal tale perfectly suited to that aesthetic.

While Ms. Marvel will inevitably return, her temporary death creates an opportunity for this issue of Marvel Comics to remind us how superheroes may inspire us in life.

Ghost Cage #1 is an astonishing introduction to Nick Dragotta and Caleb Goellner's vision of the future.

Ghost Cage is a visceral and sudden story enjoyed with each page turn until the final one encourages you to start flipping from the start again.

Ghost Cage is a fantasy, but a welcome one ready to inspire some hope in the face of a terrifying future. That's something to be grateful for.

It is always a joy to see a new art from Mignola, and Hellboy in Hell #7 proves that rule once again. From the evocative, soft dreams at the start of this issue to the big battle at the end, every page of this issue is a treat. Hellboy's development as a character is mirrored by Mignola and Stewart's as artists, all of them showing their souls here.

The result is a debut that reflects the immense talent found within horror comics today and an irresistible invitation to dive deeper into Hello Darkness.

Immortal Hulk is a Marvel horror comic. There are two important elements in that description, Marvel and horror, as one does not function without the other in this issue.

With a twist straight out of the best EC horror comics and some incredible framing by Bennett, it will leave readers on the edge of their seats with eyes half outside of their skulls. Those final few pages are well worth the wait.

This is an achievement of editing, plotting, and style, one that shows just how much gamma radiation is left to be wrung from this decades old monster. Keep it coming.

As the series makes a transition from the individual stories of the first three issues to its first big cliffhanger and a more expansive plot, it's clear that everything great about Immortal Hulk is here to stay.

Even as Hulk steps out of the shadows this series does not skip a beat.

Even as Immortal Hulk refocuses itself on an ongoing narrative, it still provides a couple of unique twists to each new installment.

This is still a series that loves twisting the narrative and surprising readers, and it manages to do so in a very big way in its final two pages: two of the best pages in this outstanding series so far.

This is a stunning issue and yet another reminder of why Immortal Hulk is the definition of a comics must-read in 2018.

Even as it prepares to set up much bigger conflicts, both internal and external, Immortal Hulk never provides more than a moment to gasp while reading; confirming its status as Marvel's pre-eminent horror comic.

Immortal Hulk remains a steamroller of a superhero comic, and it seems that #19 will only make it all the more powerful and fear-inducing.

Monstrosity and humanity are present throughout the cast, both those who appear terrifying and those who are all too human, and that makes the continued investigation of these questions awe-inspiring.

The future has never looked brighter for this series, even if the light is from the glow of radiation.

It's an excellent single issue, one that perfectly encompasses why The Immortal Hulk is the strongest superhero comic there is.

Somehow, after more than a year of consistent excellence, Immortal Hulk continues to remind readers why it's the strongest superhero series around.

Perhaps what's most impressive in The Immortal Hulk #23 is that, despite being a seemingly perfect issue of superhero action and horror, it still promises #24 will be even more impressive. I can't wait.

The Immortal Hulk #24 packs two final pages that most series would kill to have in one year into one issue.

This is the terrible magic of The Immortal Hulk, providing a poignant story that touches on modern fears while constructing a terror that only the comics medium could deliver. Bravo.

Everything is bigger about The Immortal Hulk now, and it has never been better.

Shonen and superhero fans alike are familiar with the obligatory, mid-tier fights that clog the path to an antagonist that might make readers nervous for their hero's wellbeing. Immortal Hulk #27 features just such a fight, one that nobody who has read comics for more than a month will invest much into, but it still manages to transform that fight into a thrilling adventure through a mix of formalist effects and tension-ratcheting side plots.

With guest artists like these two, The Immortal Hulk remains one of the most satisfying monthly reads imaginable, taking even disruptions in schedule and transforming them into (generally) well-realized opportunities.

The Immortal Hulk #29 is an issue best appreciated in the details.

Come for Lovecraftian terror and stick around for the Xemnu; this is everything one could want from a monstrous Marvel comic book and more.

It's clear from the start, at least for readers with Hulk mythology, that something is off, but what makes The Immortal Hulk #31 extraordinary is how it slowly ratchets up tension across the entire issue.

This is exceptional work and a reminder that even "middle chapters" can aim to blow readers' minds.

I love reading The Immortal Hulk for how it showcases Joe Bennett's storytelling, even when he is paired with one of many talented guest artists to date.

The Immortal Hulk has often exceeded expectations, but it appears to have done the seemingly impossible here by transforming a continuity overhaul into a genuinely engaging comic book.

It's apparent that there are no figures who exist for the sake of plot, and that makes it easy to lose yourself even in an issue that is primarily focused on after-action debriefings.

The Immortal Hulk has enshrined itself as one of modern comics' greatest horror series by steeping all of its most terrible moments in very real problems.

It's one of the most thrilling single issue experiences of 2020, and it remains so on a second, third, and even fourth read. Bravo.

Issue #37 read like a climax as the full extent of The Leader's plan was revealed, which is why the escalation found in The Immortal Hulk #38 is simply shocking.

This issue is an experience, an explosion that builds upon so much carefully laid groundwork in order to present a vision of hell that really looks like hell. It's one of the best drawn comics to be released this year; you have been warned.

In the meanwhile, it's a question of survival for the remaining personalities in Hulk's head and this issue sets them up with an impressive array of challenges, including a classic callback that makes The Immortal Hulk #41 already appear to be a must-read.

Hulk vs. Thing: It's one of the oldest and most celebrated rivalries in all of superhero comics, so it's no minor feat to provide a fresh spin on this decades old battle between giants. Yet that's exactly what The Immortal Hulk #41 does, first by delivering the classic brawl and then upending it through the careful application of empathy.

Yes, this is a middle chapter strung between greater things with more hands helping to move it out the door, but The Immortal Hulk #42 still manages to deliver a story that's all killer, no filler.

The Immortal Hulk #43 makes it clear that this series still has plenty to smash before it ends. Bravo.

Things are quickly coming to a head as evidenced in the stunning cliffhanger for this issue, but in the meanwhile readers can witness just how ugly the bottomline is and what sorts of terror will continue to confront these heroes before they even reach the hellish bottoms of what gamma can offer.

Issue #45 is the definition of an interstitial chapter"preparing things for what comes next as some characters are reintroduced, some new changes are clarified, and yet another gloriously tantalizing cliffhanger appears.

We may be able to anticipate where it's going and all of the skill placed in moving there, but this issue simply doesn't pack the same punch that this series has promised since day one.

This battle against the Avengers proves to be even more vicious than their first appearance at the series' start with Hulk pulling some particularly nasty new tricks out of his sleeve. The brawl is well depicted and enjoyable for its pacing and creativity, but still reads as part of a stall extending from the past several issues.

The power in this issue is not simply found in the careful purpose placed in Al Ewing's carefully constructed dialogue; it's that Bennett's figures construct a dialogue unto themselves filled with a greater emotional resonance and then Bennett merges those faces filled with that emotion into Ewing's words.

Regardless of the long, two-month wait ahead and whatever awaits Hulk, Jackie, and readers on the other side, it's clear The Immortal Hulk has remained true to its purpose and is ready to deliver a hulking, horrific finale.

Beyond some minor quibbles at the end, The Immortal Hulk #50 stands as a colossal climax for one of the most critically and commercially successful superhero series of the past decade.

The Immortal Hulk: Flatline offers readers a stirring parable on seeing the value of one life, acknowledging that even seemingly simple problems can be seen from at least two sides. It takes the incredible depth found in The Immortal Hulk and focuses it for a brief and powerful tale from one of comics' most dynamic talents.

We live in a moment where hope is difficult to summon, and The Threshing Place channels feelings of rage, despair, and desperation beautifully into a final few moments that offer a genuine glimmer of hope. I'm grateful for this one-shot and the honest emotion it offers readers today.

Time of Monsters #1 is an excellent addition to the sprawling lore of The Immortal Hulk, but what elevates it above being another good Hulk story is how it condenses a complete legend into so few pages in a comic book bound to impress any who pick it up.

For those seeking the lighter side of Marvel Comics, It's Jeff! is a can't-miss collection filled with laughs and love for animals.

Readers seeking some straightforward fun in their funny books this week will be delighted to discover It's Jeff: The Jeff-Verse awaiting them.

Bendis continues to wrap up his Marvel series on high notes.

It's a great single issue and everything readers could hope for from Bendis' departure.

There is simply a lot to like about this comic that serves as both an introduction and continuation of one of Marvel's best. What a pleasant surprise.

It's everything someone could expect from a great Jessica Jones story from top-notch banter to a star-studded tour of Marvel characters. Jessica Jones is a blast.

Millar compared Jupiters Legacy to Watchmen when it was first released, and even then it was a plainly silly line of hype. Jupiters Legacy is nothing like Watchmen, and thats a good thing. Rather than trying to be something its not, Jupiters Legacy embraces what it is. It is a big love letter to the superhero genre, one that sincerely loves the big battles, clear distinctions, and grand statements of men and women in tights. This is the kind of story that Millar and Quitely are both perfectly suited to tell. Now that they are embracing the central premise of their story in the form of a young boy with an incredible streak of altruism, they are able to deliver a truly incredible comic, one that is hard not to love.

Lumberjanes is a comic that makes me want to be silly and have fun. It's a comic about friendship, adventure, and finding the wonder in your world, no matter where you are. Lumberjanes #3 isn't just a great comic, it's a reason to be optimistic. I wouldn't want to ask for more.

Lumberjanes #14 reads in a familiar fashion, very much the series readers fell in love with just over a year ago. It incorporates recognizable structure, characters, and tropes, while providing new mysteries. The result is something that reads like the series' debut with no need for exposition, much like the second or third novel in a series of novels for young adults. Lumberjanes #14 knows itself and its audience, creating a comfort zone in which it can continue to thrive.

Mind MGMT #30 breaks from the ongoing narrative of the series in order to take one final look back at one of its most confounding and complex characters. Kindt's continuing experiments within the comics form create another tremendous success. His visual metaphor for the process of memory and the narratives we construct in order to survive not only imparts meaning on the series past, but creates a bold stage for the final six issues to arrive.

Readers could rarely predict where Mind MGMT was going next and that remains true for its sequel, Bootleg, as it reintroduces audiences to the bizarre affectations of the original story and some key points of its history through the eyes of artist Farel Dalrymple.

Kindt's original issues were spectacular but returning to those ideas with diverse and complementary collaborators provides readers new and old with a visual odyssey to cherish.

The penultimate chapter of Mind MGMT: Bootleg sets the stage for the climax exceedingly well, while delivering another artistic showcase this time from David Rubn.

Bootleg is a reminder of just how potent Mind MGMT always was, and what other artists are capable of achieving in collaboration with Kindt. We can always hope there's more to be revealed, even if Bootleg would still be enough.

That's what I mean when I say that teenagers are kind of amazing. It's not that they have solutions to all of the world's problems, but they have the energy and vitality to confront those problems and do so with an unassailable spirit of hope. Watching Kamala Khan stand up to the Inventor and for her entire generation in Ms. Marvel #10, it's impossible to not feel optimistic about what the future holds.

That smoothness is featured in the comic itself, as the final third transitions to Alphona's pencils in a flashback sequence. This story focuses primarily on Bruno and reveals just how lovingly crafted Kamala Khan's supporting cast has been characterized. A Bruno story is every bit as endearing and enjoyable as a Kamala one. The introduction of Mike shows that this cast will only continue to grow, and Wilson avoids innumerable troublesome tropes in order to deliver a fully formed human being in only ten pages. It's a clear sign that Ms. Marvel hasn't only returned at full strength, but that this series is going to be even better than ever.

It's no surprise that Ms. Marvel #5 is great; it's no surprise that Ms. Marvel #5 is this great. This is a comic that utilizes its medium and genre well in order to tell a story that feels personal and meaningful in an entertaining fashion. That's more than you can typically expect from superhero comics, but it is delivered in almost every installment of this series. Someone cared about every aspect of this book from its core to the most minute details (again excluding proofreading) and it shows in a tremendous reading experience.

When you combine the talents of Morrison, Burnham, and Fairbairn, what you are left with is magic. Its primal and raw, certainly not pretty, but undeniably powerful. They have stuffed the pages of Nameless with ideas and meaning, building a story that is constructed like clockwork, but still breathes and moves like a living thing. It is instinctive and intellectual, merging feeling and meaning into a story that challenges your mind while thrilling your senses.

Fans of The Suicide Squad and Peacemaker are bound to find plenty to enjoy in this humorous action romp, even if it's simply par for the course when it comes to the consistently excellent work of Starks and Pugh.

Peacemaker Tries Hard! captures the incredible action and comedic tone fans of Peacemaker loved and distills them into the comics form as only Starks and Pugh can.

There are a couple of instances in which tall panels result in a confusion reading order, but overall Peacemaker Tries Hard! continues to present itself in outstanding fashion with some of the most expressive characters in DC Comics' current line.

Peacemaker Tries Hard! started well and continues to get better with each passing issue, and #4 promises the best is (somehow) still to come.

Peacemaker Tries Hard! summons both R-rated action and laughs along with a surprisingly sweet story that could only exist in superhero comics; the only bad news is that only one issue remains.

If this is the best Peacemaker can do at DC Comics, then readers will want a lot more of Peacemaker Tries Hard!.

Plutona is a comic about childhood. The inclusion of superheroes feels like garnishment in the first issue, saved for a page of prologue and final reveal. The heart of this one issue is the five children at its core. Lenox and Lemire put all of their efforts into bringing them to life on the page, and the results speak for themselves. In these five children, both of the world and in many way innocent of it, it is possible to see reflections of the people we once were and wished to be. They all live on the crucial moment before adolescence when every choice could mean the world and the world could mean anything. The stakes of Plutona are high, not just because they reflect the perspective of children, but because the potential found within each of them feels truly limitless, if only for this one moment.

This is another investigation of human darkness that is exciting without glorifying the violence committed by any one involved, and based on the last page Soviet is just getting started.

What's most impressive is how it centers the humanity of two men destroyed by careers of violence, then juxtaposes that to decision makers whose hands remain seemingly clean.

This is a horror comic and a war comic, and will leave you feeling isolated and shocked as only the best stories from either category can.

The final few pages kick things back into high gear in one of the best helicopter-action sequences I've read in comics. It all functions to lay the ground work for the final act of this series, setting expectations high for however this unlikely American-Russian partnership may end.

The penultimate issue of Punisher: Soviet plays out with explosive style and melodrama of an 80s action flick, but still manages to deliver the over-the-top brothers-in-arms sincerity that Ennis has transformed into its own sub-genre of his comics.

It's difficult to imagine many artists besides Jacen Burrows executing this issue"one of the most harrowing and horror-soaked Punisher climaxes ever"as well as he does.

Punks: The Comic relentlessly mocks itself and everything around it. It's nihilistic, but in a way that bears more resemblance to the punks in The Big Lebowski than A Clockwork Orange. It puts on a face of apathy in order to mask the desires and concerns of its creators. Fialkov and Chamberlain have created a comic that doesn't seem care, even when it has something worthwhile to impart.

The truth is I have no idea what to expect next in Rumble. Theres no clear way forward for this story because it has the ability to go almost anywhere. Every character introduced in Rumble #1 could be killed in Rumble #2 and the series would be able to move forward with ease. It is a landscape made for exploring where each aspect of can be relished in its depiction. This is a comic that loves being a comic. Arcudi, Harren, and Stewart arent trying to create a storyboard to be picked up for television or movies; theyre just making the best damn comic book that they can. They are invested in making the most of their chosen medium in order to create something unique. Rumble is kinetic, visceral and impactful, a pure comics experience.

Kot, Walsh, and Wilson weren't interested in universal consequences or heroes and villains. They were interested in empathy, people, and the small changes we all undergo as we try to grow into better people (even if they come through battles with fictional realities). Secret Avengers was entertaining because of its superhero antics, but it was great because of its focus on the humanity beneath the story. This may not have been one of the best-selling series at Marvel, but it was certainly one of the best.

Silver Surfer is one of the most fun comics being published right now. Its helmed by two creators with bold voices and confidence to spare. Together, theyre telling stories filled with imagination and joy. Silver Surfer #5 holds as much potential as even the best Defenders comic, filling every panel with new wonders.

Edge of Spider-Verse #2 revealed an exciting new vision, and Spider-Gwen #1 is all the reassurance anyone should need that it was not a one-time fluke. Spider-Gwen is a fresh take on classic ideas, featuring some of the best art and writing in superhero comics today. I've said it before and I'll say it again: Face it Marvel, you hit the jackpot.

Starve may not have received the most attention at the previous Image Expo in January, but after two issues it seems that it should have. Each installment so far has provided a complete narrative arc with all of Wood's typical flair for character and politics. Furthermore, it is some of both Zezelj and Stewart's best work to date, moody and dynamic. Starve #2 is a truly outstanding comic book.

The Superior Foes of Spider-Man may be ending forever soon, but it's still continuing to grow and improve. The amount of jokes, action, and plot all laid out in this issue alone displays the series many strengths. With only two issues left, it still manages to find new places to go and stunts to pull. It's a comic that will be good to the final page.

The Superior Foes of Spider-Man ends here. It was a comic filled with attitude, gags, and heists all told with inimitable style, and now it's gone for good. That finality serves as a fine conclusion to the series though. This was never a comic about winning. It was a comic about losing and being too stupid or too romantic or too strong willed to accept that. Spencer and Lieber created fifteen of the best issues published by Marvel in years because they recognized it's better to be a loser who tried than a winner who played it safe.

Tooth and Claw is another incredible debut from Image Comics, a series that promises the world and then delivers. It is the first chapter of another saga filled with potential from a creative team that has proven they can deliver on high concepts and drama both. Theres a lot to love in this issue and its only the beginning.

The haunted mood of Sabrina #1 creates a promise for much more to come. This issue reincarnates a children's tale as a horrific new version of itself, one that is capable of scaring readers, new and old alike. With Hack's art and colors guiding Sabrina ever closer to the darkness of her origins, there are bound to be a lot more thrills and chills to come.

The Humans #1 is an impressive debut. It asserts Neelys position as a talented cartoonist, one who is capable of seamlessly blending tones to great effect. This comic provides an intriguing introduction, one that lays a foundation upon which Keeler and Neely could construct one of the most interesting comics on shelves today.

Catching up on The Hunger and The Dusk is the best decision I made this week and issue #4 only confirms that the best is still to come in this outstanding new series from IDW.

As it nears the end, The Kitchen continually gains momentum, helping to focus its ideas and art into the best issue of the series yet. It is both a rapid-fire crime drama and a powerful statement about how a patriarchal society can force women into violent roles. The nail biting cliffhanger lies on the tension set between that and the nurturing aspects of motherhood. It is an excellent build towards an unguessable climax, making The Kitchen one of the best new series from Vertigo Comics this year.

Smart comics and fun comics are not two different things.The Manhattan Projects #23is proof that they can be one and the same.

The Manhattan Projects: The Sun Beyond the Stars #2 shows that this is a book worth waiting for. From the broad strokes of an intergalactic heist down to the smallest details in Pitarra's backgrounds, this issue is a delight to read and re-read. Moving beyond the Cold War setting has allowed it to embrace the most bizarre elements of the series. The result is something that feels both fresh and familiar, but always like damn good comics.

The notion that we or the world we live upon will be given a second chance through supernatural forces is a fantasy. We do possess the same thing the crew members of The Massive do though. We possess a future. Its up to us what we will do with it.

The Nice House on the Sea can be described with those same words as it introduces a new gathering of individuals at a new location under the same premise, but what makes it so impressive is how quickly it builds upon what's come before to change everything readers know once again.

For those of you unfamiliar with The Private Eye, you have my envy. Not only do you get to discover this series for whatever price you choose, but you still have time to sit back and await that surge of excitement when an e-mail or tweet or facebook post announces the arrival of a new issue.

Sandman: Overture #2is a tremendous work of comic art. Williams perfectly complements Gaiman's story, elevating the plot into something transcendent. Readers already familiar withSandmanwill find the work transcendent, but those new to Gaiman's mythos may be perplexed by the plotting. Both groups should find the comic well worth its cover price though for Williams' art alone.

The Sandman: Overture is an obvious success. It is almost unassailable as an example of comics craftsmanship. This is the result of a team of extremely talented creators working in concert to tell a story together. A comic collaboration of this caliber cannot and should not be attributed to any one talent. It is the accomplishment of a team.

The issue's conclusion sews the issue together nicely, returning to the story's opening and connecting it to the characters and events throughout the issue. It completes this chapter, allowing for a complete experience while only introducing the elements of a much broader epic. It is clear as the issue ends that Kindt, Lemire, and Rivera have an excellent grasp over the story they are telling and how they desire to tell it. The Valiant #1 is a striking introduction filled with action, humor, and some of the best storytelling in superhero comics. If you're not reading Valiant comics, this is the place to start.

Ultimate X-Men #1 ultimately sets itself apart by being a comic no one saw coming. It certainly utilizes elements of X-Men lore, but emphasizes itself first as a magical girl story featuring an irresistible lead, wondrously depicted powers, and undeniable teen pathos.

Ultimate X-Men #2 reaffirms the tremendous strength found in the series' debut with another powerhouse issue telling a story of peerless style and unlike anything Marvel Comics has printed before.

There's no doubt that Ultimate X-Men has set an exceedingly high bar for itself as the single most interesting new Marvel series of 2024 to date and even a transitionary issue like Ultimate X-Men #3 delivers the goods.

Not only is Ultimate X-Men the most ambitiously inventive and stylishly distinctive of Marvel's impressive new Ultimates line, but it also seems to be the best paced superhero comic arriving on a monthly basis.

Ultimate X-Men is rapidly approaching the formation of the actual X-Men as issue #5 introduces new mutants, their origin on Earth-6160, and the first mention of that all-important letter. It's the introduction of some of these elements near the issue's end that results in some of the only stilted narration and storytelling of the series to date, but it's dispatched with efficiency. Beyond those developing elements, Ultimate X-Men #5 leans heavily into what's best about the series as both Hisako's small group of friends and their seeming rivals continue to explore and discover abilities.

The Ultimates has been one of the best books from the All-New, All-Different Marvel relaunch and The Ultimates #4 is no exception. It's a comic that functions both as an individual issue, making a character study spread across five decades, and as part of an ongoing plot, pushing the limits of weird science in superhero comics. It shows there's no need to choose amongst plot or character or stlye or action, combining all of these elements into one very enjoyable comic book. There's a lot happening in these pages, but that only makes the manner in which The Ultimates #4 delivers all the more impressive.

Relaunching Ultimates as the narrative foundation for an entirely new Ultimate Marvel universe nearly 20 years later provides writer Deniz Camp and artist Juan Frigeri with inevitable expectations for how their vision of a remade Earth-616 will measure up against once-revolutionary superhero comics. Camp and Frigeri prove they are more than up to the task in The Ultimates #1.

Writer Deniz Camp's superhero work has garnered a rewarding as dense, rewarding reads and it's the careful juxtaposition of perspectives that makes this issue so effective.

Key details and some effective design work make the issue's climax painful to read, especially as the work of Banner's team is made clear in detailed text pages. It's a reflection of very real horrors clarifying the concept of Iron Lad's war against The Maker's empire in this series.

There are plans to continue Veil in future series and that's a good thing. Although this story has found a natural conclusion, Rucka and Fejzula still have a great deal of fertile thematic and dramatic material to explore. Veil is a damning commentary on gender and the treatment of women, and a necessary one at this moment in pop culture. It uses horror to explore our basest impulses and offer some small flicker of hope. At the end of this issue, Dante reveals that doing the right thing is every bit as simple and straightforward as it ought to be. That conclusion makes for a powerful statement by Rucka and Fejzula.

If the same level of talent is involved with future issues of CMYK, then the series may be in a position to steal the Eisner from Dark Horse Presents in 2015.

Like any collection containing such a wide array of diversity in its storytelling, art, tone, etc. some of these comics are bound to fall flat for any reader. The value in Vertigo Quarterly, like any high quality anthology, does not come from having a collection of stories that will appeal to all readers. It comes from having a collection of comics that will expose readers to the diversity of the medium and, even if they are not all enjoyed, will expand the horizons of those reading them.

These three creators together are crafting a comic that will stick with you, surprising you with depth and thought that may strike very close to your deepest held fears.

Weirdworld #1 would likely have been a rousing success no matter what thanks to Del Mundo's efforts, but Sam Humphries grasps what makes this concept and artist jive, then plays to those strengths. He crafts characters and drama in broad strokes. Every named entity on Weirdworld feels bigger-than-life, including a truly ridiculous barbarian and a version of Morgan Le Fay that feels as seductive and dangerous as any to come before. Even though the dramatic key to Becca lands like a sledgehammer, it fits into the tone of Weirdworld #1 perfectly. If you're looking for grand adventure and beautiful madness, then look no further; this is the comic for you.

I can think of no better foundation for this character to grow upon in the 21st Century.

If The Way of X, and its final chapter The Onslaught Revelation, possess a clear flaw, it's an excess of ambition.

There's only so much space for fun given the start of this issue though. The actions of the Purple Man loom over every panel like Stilt-Man's shadow. When the story comes full circle, Waid and Samnee do not back away from the tone struck in the opening of the issue. Instead, they use the same tools that serve the first five pages so well in order to craft a second sequence that is every bit as chilling. Whatever comes next, it ought to fill readers with equal levels of excitement and apprehension. If there's a lesson to be found in Daredevil #8, it's that any villain can be very bad (in a good way) given the right circumstances.

Its easy to be cynical about superhero comics, and that cynicism is often not wrongly felt. Yet in the case of Waid and Samnees Daredevil, nothing could be further from the truth. In every page and story beat, it is clear that this comic is being written with a completely genuine interest in the characters and the ideas they express. This is a story about dealing with pain and building a better future, and it is told with complete honesty. Its a big, bold metaphor for something many of us can relate to on a deeply personal level. Although its fun, its also incredibly human. Waid, Samnee, and Wilson are giving their all to this story and Daredevil #9 is an example of superhero comics at their absolute best.

Daredevil continues to surprise and astound with each issue. All of the madness introduced in #16 would overwhelm lesser talents, but Samnee and Waid juggle these plots almost with ease. Each significant moment lands, and the impact of some are enough to take your breath away. This is the setup for what looks to be a finale every bit as good as the series preceding it.

Waid, Samnee, Wilson, and all of their other collaborators have created a truly legendary version of Daredevil, and Daredevil #18 is an excellent capstone to their accomplishment. It manages to walk the fine line between spectacle and catharsis, providing a fine ending to this last adventure and, more importantly, addressing the thematic core of the series. In these final pages, Daredevil lands exactly on the point of why it has mattered so much for so many comic readers, and why it's likely to continue doing so for a long time.

Jonna and the Unpossible Monsters reminded me how to read comics and, perhaps more importantly, why I read comics.

Even as it sets a course for the series ahead, it already seems apparent that Jonna and the Unpossible Monsters is one of the most accomplished examples of comics storytelling in 2021; I simply cannot wait to see what it does next.

Jonna and the Unpossible Monsters remains a delightful discovery in current comics as it prepares for the long journey ahead.

Jonna and the Unpossible Monsters possesses the scope of an epic"taking a small introductory point to expand upon a world filled with massive conflicts, colorful characters, and unending adventure, not unlike the earliest issues of Bone.

Jonna and The Unpossible Monsters remains an exemplar of the "show, don't tell" rule of comics.

Jonna and the Unpossible Monsters #6 may only trace a single segment of the story"barely addressing any character beyond Rainbow"but her journey through such an engaging setting under so much pressure is a thrill to read. Once again I cannot wait to see what the next issue may bring.

The final page is simultaneously overwhelming and uplifting - it speaks to the human spirit in times of catastrophe and understands that words cannot provide justice to this concept. Yet the images here capture it just fine.

Repeat readings of both the issue and series so far will reward readers as the visual cues and callbacks embedded in the final few pages layer meaning into a cliffhanger that will leave readers ready for more. That's true seemingly every month when it comes to discovering more of Jonna and the Unpossible Monsters, though.

Given the weighty revelations and impending conclusion denoted by #9 (of 12), it's possible to feel impatient as it still feels like this wondrous story has miles and miles to go.

There are a few fun elements added, including the return of some familiar faces and a potential key to unlock the mystery of what happened in this world. However, the focus of Jonna and the Unpossible Monsters #10 is squarely upon the monsters and the "unpossibility" they embody it's a delightful race ahead in preparation for whatever the final act of this tale might be.

The penultimate issue of Jonna and the Unpossible Monsters reveals the origins of both subjects in its title along with the entire catastrophe that has rocked Rainbow's world.

A sweeping metaphor for defending one's world against monsters can be read in many ways, but the profound truth made clear in the final few pages of Jonna and the Unpossible Monsters is universal in nature and reminds us all why having someone to fight for is more important than the fight itself.

While Prince's black humor and idiosyncratic notions are evident, they are applied for different effects than in Ice Cream Man to reveal a sense of tragic optimism where beauty can still be found in even the worst circumstances.

Swan Songs continues to stun in a second installment drawn by the inimitable Caspar Wijngaard depicting the end of a marriage.

Swan Songs #3 provides another wonderful fable grappling with modernity and some of humanity's oldest myths at once.

Swan Songs simply doesn't miss, even when its scope is significantly narrowed.

"The End of Anhedonia" is set entirely in a single therapy session, which might make Swan Songs #5 sound like the dullest entry in the series to date, but an impressive application of fumetti effects by artist Alex Eckman-Lawn and metaphorical construction of the protagonist's mindscape makes it a highlight in this already impressive series.

As an entry in Swan Songs, issue #6 seems out of place but as part of Prince and Morazzo's collected work, referenced in multiple poems, it fits perfectly and finds a final page that manages to draw Swan Songs, Ice Cream Man, and Silverstein's legacy together splendidly.

Southern Bastards works exceedingly well purely on dramatic terms. It's a well-crafted story, expertly told by both Aaron and Latour. What sets this comic apart though is that even though it is fiction, it is entirely true. From the smallest details to the essence of its plot, every part of the comic functions to explore a truth about a certain sort of place and the people who occupy it. Southern Bastards transcends its medium and premise in order to seek what it means to come from a small town in America.

In Southern Bastards #5 and the society it reflects, blood isnt just on the field.

Southern Bastards is the best the comics medium has to offer. Though entertaining and exquisitely crafted, its sum total is greater than either significant parts. Aaron and Latour have a lot on their minds, and those ideas have simmered since Southern Bastards #1.

Southern Bastards has truly returned home this week, for better and worse.

There is much more story to come, but it suddenly feels like a much safer story and that has never been what attracted readers to Southern Bastards.

American Vampire is back and as good as ever. Snyder and Albuquerque have a clear grasp of what worked in the original series and have continued to build on those elements. Any pacing problems are an effect of creating an introduction to a series with such a large history, which should leave the reader with nothing but a sense of optimism about where this comic is going. The characters should be a bit more pessimistic though"

Second Cycle #2is a masterclass of tension and horror. It uses each scene to make the reader feel more trepidation, until it unleashes the monster that has been hidden the entire issue, then starts the process all over again.American Vampireis typically used as an example of how the horror genre can be effectively utilized in comics. Issues like this are the reason why.

There should be no doubts amongst readers concerning Snyder and Albuquerque's ability to craft an effective horror story with a human core. If there were,Second Cycle #3should dispel them. This is a great link in a great opening story toAmerican Vampire: Second Cycle, whetting appetites and building suspense at the same time.

American Vampire: Second Cycle #4 is an excellent conclusion to the first story arc of the new series. It presents the best aspects of the series in its well defined characters, striking visual sense of action and horror, and grand sense of mythos. It manages to bring all of these elements together to create a climax that is a satisfying pay off to the tension and stakes built over the first few issues. Furthermore, it serves as a thesis statement for American Vampire: Second Cycle as a series - presenting what it is about and showing that the creative team is fully capable of delivering on the series' promise. American Vampire has returned and, based on this story, its second act should be even better than the first.

Thankfully, Barbaric #1, from writer Michael Moreci and artist Nathan Gooden at publisher Vault Comics, recognizes that repeating the past is a surefire recipe for mediocrity and provides the first exciting new sword & sorcery series to hit comic book stores in many years.

Barbaric #2 maintains everything excellent from its debut"the humor, the violence, the fast pacing"and builds upon that momentum.

Barbaric #3 ends the new series' first arc on a high note, drawing all of its threads into a spectacularly bloody finale filled with satisfying connections"whether it's the literal meeting of Axe and enemies or a new bond between comrades.

Barbaric appears ready to continue for many miniseries and one-shots to come, and that's something to be excited about.

The first issue is but an introduction and it's one that does everything required by a new miniseries: introducing sympathetic characters, presenting an outstanding aesthetic with stylish action, and providing a premise with plenty of room to expand.

Transformers #2 further establishes the stakes for this new Transformers saga and there's no doubt that what lies ahead will deliver both beautiful comics and a story capable of handling the franchise's most mature themes.

Transformers #3 is all about escalation and the high cost associated with it and, while the fights may be impressive, its the underlying consequences and emotions that will make Transformers #4 a must-read next month, as I simply can't wait to find out what happens next.

Transformers is a powerful comic book and Daniel Warren Johnson is its undeniable Allspark.

Few artists working in comics today can capture so much chaos so effectively on the page as Daniel Warren Johnson.

Transformers #6 sticks the landing and assures readers that the Energon universe it introduced them to will continue thrilling readers so long as Johnson sticks around.

Transformers are every bit as distinctive and expressive in Corona's style and the action sequences still stun with explosive and sudden violence. Corona proves a suitable partner for Johnson with styles that complement one another and maintain a sense of consistency in Transformers' aesthetic. It seems that this series is bound to be good for a long time to come.

Although there are some issues of consistency in portraying the scale of Transformers, there's no denying that panels emphasizing scale will still leave readers demanding more.

Amidst the action there are plenty of cliffhangers that are left either ambiguous or rely on existing reader knowledge for full effect, but as an accelerating middle chapter, there's no doubt Transformers #9 succeeds in maintaining the series' epic momentum.

By the issue's end it's clear that the worst is yet to come and the stunning depiction of both action and character combined make that terrible future seem irresistible.

It's another excellent issue of Transformers that will leave readers eager to chase its entire ensemble into the future.

Occupied Territory appears to be another outstanding entry from one of the best creator-owned franchises in comics today.

Occupied Territory #2 makes it clear that there's plenty more to be discovered in this fictional world as two wayward canines open the door to wise dogs in both of Earth's semispheres. In character work, imagination, and presentation, there are few comics as rewarding to readers today as Beasts of Burden.

Occupied Territory proves itself to be a consistently engaging new story in Beasts of Burden lore, even resting nearly 80 years before the current narrative.

Beasts of Burden serves as a love letter to supernatural stories, comic books, and canine companions, and it is an endearing testament to the power of all three.

There is a lot to unpack from this short story, both in how it examines relationships between human beings and their companions, as well as how it bodes for where Beasts of Burden goes next. This series has always been great, and yet it is somehow still getting better.

Whether or not you've ever heard of Beasts of Burden before, this introduction offers a great starting point, one that already appears to be leading to even greater thing.