Tag: Reviews

What comics are worth your money this week? Managing Editor Alex Lu is here to let you know.

Evan Dorkin brings the tale of four mean-spirited, socially-incapable, pop-culture-obsessives to an end.

England is gone, replaced by a new World Tree, promising to end this world and replace it with something new. Hellboy speaks with a spirit that may be his friend Alice, but who also appears to be something more. She delivers a prophecy of doom and beauty to Hellboy, who awakens, and finds himself in Hell once more. And then things start to get weird.

The new version of Sabrina, the Teenage Witch, launched under the Archie Horror imprint around last Halloween, isn’t exclusively about how adolescence is horrific, but the latest issue can’t help but circle some of that territory.

"Dogs and cats, living together!" - that's what immediately popped into my mind yesterday when I read Tony Isabella praising DC on Facebook for...

Things start off looking grim. A chubby writer tries to write his suicide note, but is prevented by writer’s block. He longs to connect with the world around him, but is locked away behind walls of shyness. But around page 4, things take a turn.

I review a puffed rice and corn cheese snack that is Avengers themed.

Dreamy, symbolic, curious, and strange. Pablo by Julie Birmant and Clément Oubrerie is ostensibly the story of Pablo Picasso, a man, a modern artist, and an icon of the 20th century. But it’s a story told from the point of view of Fernande Olivier, also known as Amélie Lang, also known as Madame Paul Percheron, also known as the subject of more than 60 portraits made by Picasso.

Past Aways proves time travel is more a curse than a gift.

The Fox, with story & line art by Dean Haspiel, script by Mark Waid, and colors by Allen Passalaqua, opens in media res with our titular hero tied up, lamenting his bad luck, and wishing for an ibuprofin. It’s a Spider-Man-like How did I get into this mess? inner monologue that introduces a delightfully self-deprecating superhero who’s already in over his head.

The Hellboy universe expands once more with the re-introduction of Frankenstein to Mignola’s ever expanding cast.

Strange small towns commanded by dogmatic despots have long been a staple of post-apocalyptic fare like The Walking Dead. So when Postal # 1 opens on a church sermon delivered by a preacher waving a gun at a man who is bound at the foot of the altar, it seems a familiar scenario. Perhaps this is what the comic wants us to think, lulling us into a false sense of narrative security to contrast with it's intriguing final pages.