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This monthly series is dedicated to giving brief reviews to ongoing comic series, allowing us to cover more debut comics in our full Comic Book Yeti format while not leaving ongoing series out in the cold. Over time, we may add more to this segment, but for now, enjoy the show.

The Picture of Everything Else #3, Vault Comics, Cover by Kishore Mohan


Writer: Dan Watters

Artist: Kishore Mohan

At the midpoint of this sequel to Oscar Wilde's novel, the villain is humanized, the stakes are raised, and meta-commentary reaches a deafening crescendo. While it's still smartly written and driven by an intriguing psychological core, The Picture of Everything Else appears to be backing off of some of its more intriguing mysteries and dramatic tensions. There're also some creative choices, like acknowledging the in-fiction existence of Oscar Wilde, that are questionable and break the immersion of the experience.

I'm harsh on this book because its creative team is truly exceptional and I want The Picture of Everything Else to live up to those standards; that said, the book is excellent and I can highly recommend it in spite of whatever qualms I have. The art is ethereal, the themes are compelling, and this last issue leaves the series in a place of uncertainty and awe that would compel anyone to keep reading. If you've enjoyed the journey so far, you'll love this latest installment. And, if you're curious about the series, give it a shot.

- Wells Thompson, Content Editor


Writers: Eric Peterson & Joe Aubrey

Illustrator: Darick Robertson

Original Article: Space Bastards #1

Everyone’s favorite green space alien Zordakk appears on the best cover of Space Bastards #4, smiling and clutching a bouquet of flowers as if he is a sweet young man asking you on a date with this comic. The eye-pleasing cover will lure both new and old readers into buying the latest issue in the degenerate Space Bastards chronicle. Fans of the series are granted all their wishes of more lavish violence, badass women, and the comedic escapades of a dissatisfied Zordakk. Darick Robertson ensures that his gloriously savage, Tarantino-esque art imprints itself on your mind forever. Space Bastards hasn’t had a bad issue yet, and issue #4 is no exception.


Writer: John Arcudi

Illustrator: Valerio Giangiordano

Original Article: Two Moons #1

The nightmare-inducing, ethereal visuals from Two Moons #1 escalate to an increased level of fright in issue #2. All members of the creative team work synchronously, each detail digging deep into the shamani`c roots of Two Moon’s Native background and emerging victoriously with a horror comic you’ll be thinking about long after the last page is turned. Stakes are raised and Two Moons begins a fragile relationship that will undoubtedly pique readers’ interest for further issues.

Dead Dog's Bite #2, Dark Horse Comics, Cover by Tyler Boss


Cartoonist: Tyler Boss

Original Article: Dog's Dead Bite #1

Threads of the mystery in Pendermills start to unravel while other plot lines only raise more provocative questions. Tyler Boss uses the blue-suited narrator to dictate the action of the story with unusual anecdotes, compellingly hinting at the unrooted themes of the comic. The varying 9-panel grid structure continues to service the intrigue of the narrative, keeping readers fully invested in scrutinizing every element on the page for clues.


Writer: Drew Ferguson

Illustrator: Lee Ferguson

Original Article: Sam and his Talking Gun #1

Issue #2 makes sense of the disjointed and unexplained elements that made the first issue fall short in terms of readability. Most of the narrative serves as a flashback, key in characterization. Artistically is where this comic shines again, with innovative panel layouts, facial expressions, and lighting experimentation all continuing to foster a lasting visual impression.


Writer: Peter Calloway

Illustrator: Georges Jeanty

Original Article: Shadow Doctor #1

Peter Calloway excels at balancing character depictions from an unbiased perspective in this second issue of Shadow Doctor. This issue veers away from the main protagonist, Nathaniel Calloway, humanizing and giving motivation to mob boss Al Capone that rewrites his usual characterization in entertainment. Artist Georges Jeanty and colorist Junacho! deliver particularly stellar panels exuding atmosphere and detail while Charles Pritchett’s lettering gives the weighty dialogue equilibrium in speech bubbles.

-Katie Liggera, Contributing Writer

Killtopia, Issue #3, BHP Comics, Cover art by Clark Bint


Writer: Dave Cook

Artist: Clark Bint

Original Article: Killtopia #1

Flying high on news of a TV adaptation, the third installment of the mind-frying, neon-drenched, darkly comedic, cyberpunk overload is back with Clark Bint at the artistic helm, who brings an unprecedented intensity to the art, especially when the blood starts to flow. Tapping into many of the most popular trends of the last few years; cyberpunk aesthetics, battle royales, ultragore, and dark humour blends together with criticisms of an ever more digital world. Killtopia has become one of the most successful Kickstarter series in recent years.

-Richard Mooney, Contributing Writer


Writer: David Andry

Artist: Skylar Patridge

Original Article: Resonant #7

The cover to this issue is downright sexy, but alarming; a warning of things to come. This is the penultimate issue and Andry DELIVERS both action and answers. Patridge's action sequences as the children face off against Preacher and Maw are alive and the asymmetric panel layouts give the issue an off-kilter feel throughout that complements the story. Wordie uses a bright, vibrant color palette to highlight the action, but deep reds and purples for Paxton's provocative-turned-precarious predicament. Bennett's SFX during the action scenes are particularly effective.

-Jimmy Gaspero, Contributing Writer

The image(s) used in this article are from a comic strip, webcomic or the cover or interior of a comic book. The copyright for this image(s) is likely owned by either the publisher of the comic, the writer(s) and/or artist(s) who produced the comic. It is believed that the use of this image(s) qualifies as fair use under the United States copyright law. The image is used in a limited fashion in an educational manner in order to illustrate the points of the author and not for the purpose of entertainment or substituting the original work. It is believed the use of this image has had no impact on the market value of the original work.

All characters and the distinctive likeness(es) thereof are trademarks of and copyright of their respective owners. ALL RIGHTS RESERVED.

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