Bloodshot is the code name of a man who has billions of self-repairing/self-replicating nanoscale robots inhabiting his body. Bloodshot is part of a secret government defense project. The nanobots coursing through his system give him enormous strength and the ability to survive being shot, stabbed, or bombed, because they detect and repair damage. All they ask in return is that their host eats plenty of protein to keep them fueled. (That means cattle that happen to be grazing in a field should be afraid when Bloodshot is near.)
In issues one through four (which make up this anthology) Bloodshot struggles to figure out his true identity. That's because the government scientists who designed Bloodshot have implanted in his brain a bunch of different identities, each with fabricated memories of wife and children, which the scientists can switch on like a TV channel to persuade Bloodshot to participate on a mission.
In these issues of the comic, Bloodshot's already bizarre life gets even stranger. For one thing, the nanobots in his body had become intelligent and are communicating with him in the form of gold-colored apparitions of his imaginary wife and kids. For another thing, the scientist who created Bloodshot has gone rogue and is trying to use Bloodshot against his former colleagues.
With shades of Greg Bear's Blood Music and Philip K Dick's novels, I had a blast reading Bloodshot and I'm eager to read volume 2, which comes out in July.
(I should also mention that the art, by Manuel Garcia and Arturo Lozzi is excellent.)
Jerry Siegel, co-creator of Superman, wrote the script for 
Michael Pusateri recommended the comic book Resident Alien on an episode of Gweek last year. A few days ago I received a review copy of the paperback anthology that collects the first four issues and loved it.
In his book 
In episode #2, Jim, Jasen, and Ed interview 
Kurtzman's ground-breaking color rough for the cover of MAD #1 along
with the printed cover (1952).
Classic Kurtzman cover art to Frontline Combat #7 (1952)
Live bidding on the Johnny Romita's cover art for Amazing Spider-Man #121 has commenced at Heritage Auctions.
Ryan Sohmner and Ben Bates imagine 
Karswell is co-editor of the 
Reset
I usually know more about these titles from bigger name cartoonists going into them. I can't say whether the element of surprise was a good thing for Anders Nilsen's latest. A swift change from the epic mini Big Questions, which was loving compiled into a massive volume by D&Q roughly a year and a half back. Don't Go Where I Can't Follow is a swift emotional kick the the chest, that will make you bawl your eyes out to the point of dehydration or immediately phone up a loved one who hasn't received the sort of attention they deserve. Or, more probably both.
This might be the perfect comic for the internet age -- one-liners built into six-panel strips, crafted with sketchy artwork. Like 140 character Twitter jokes understood to be scripts for full-page comics. Sure, 30 seconds more attention span required for consumption, but, you know, pictures. On occasion, Nathan Bulmer even has the audacity to ask us to sit through a full two page spread, but don't worry too much, he'll, more often than not, spend the final panel tearing it all down, as is perhaps demonstrated with one of the best single issue comics openings in recent memory, The Noseless Great Moral Cats, a false start intended to trick parents into buying this sick funny stuff, a page after a crown of thorn-wearing Jesus is busily bleeding on a baby lamb.