It's amazing that Action Comics keeps playing up the consequences of Booster Gold's time travel decisions and yet feels completely inconsequential. That's why it doesn't seem meaningful when Booster actually does something selfless for the Man of Steel, because it's hard to believe that he's really going to pay a price for it.

It's unfortunate that most of these characters are going to fall by the wayside when the next Avengers relaunch happens in a few months. But at least they're going out on a strong note.

The interesting parts are at the beginning, when both "sisters" are paranoid about the other. Android Viv gives her counterpart very good reasons to fear her. But the whole thing is over so fast that there isn't any nuance to android Viv, and she just becomes one-dimensional.

This issue also has the most interaction that Deadpool has had with Colossus since the first movie came out, so it feels a little overdue to see their fight here.

This issue takes its time getting us to the spoiler from Batwoman #1 last year, and it wasn't worth the ride.

Ethan Van Sciver's art is solid, if not as spectacular as it usually is. But if there was ever an issue that simply treaded water for twenty pages, this is it.

Melba's plot still feels disconnected from the one that her FBI partner is investigating, but the ongoing mayhem is entertaining.

It feels like a B-story for a character who belongs on the A-list. Even great artwork can't change that.

This is a series that deserves to continue past the next Marvel relaunch.

Poison-X feels like a story in search of a much better story that will save it from itself. But it's not going to find one, because this crossover is just a set up for an even larger crossover that could have easily left the X-Men out of it.

This book is still far better than it used to be. However, its quality might be coming back down to Earth.

Astonishing X-Men almost always looks good, and Paulo Siqueira's guest stint as the artist is no exception.

This miniseries may not match the drama of Tynion's Detective Comics run, it's still a worthwhile crossover for fans of both franchises.

This is a mess, but at least Cully Hamner's artwork makes it a good looking mess.

This isn't essential reading, but it might be your Batman vacation from Batman, if you need a break from the marriage and Dark Nights: Metal events.

This book might be worth checking out for the artwork alone. But if Daniel decides to leave this title, there won't be a lot left to recommend.

It's an interesting ride so far, but the art is what makes this issue feel complete.

It's not a bad issue, but it's also far from great.

Aside from the artwork, there's really not much to recommend here.

If it wasn't for the art, I don't know where this book would be.

This is starting to read like a comic from the '90s, which is a step back in quality from the heights of DC Rebirth.

The action was exciting and the story is still building up its momentum. That's not an easy thing to maintain for a weekly series, but it's working so far.

I actually don't mind if Ben and Kaine are going to be co-leads going forward, but their stories should at least be equally strong.

This issue might have the most brutal comic book fight in recent memory that also barely has any punching, stabbing, or shooting. Instead, the vendetta between Madcap and Deadpool reaches its conclusion with a few choice words that land harder than any hit.

It's still good, but it's not as satisfying as the earlier issues. I'm genuinely curious about what's going to happen next, but this run may have already peaked.

Robert Venditti didn't have to try too hard to make the Kryptonians and their worshipers seem like they can actually take on the whole Corps. That gave this story a lot of potential places to go in the next chapter, and it's worth sticking around for.

Not every book can be a winner, and this one certainly isn't.

Even great art won't be enough to keep an average book alive. And at this point, average is a slight improvement for this title.

The problem is that the series makes the reader think more about the dark Justice League than anything else. Michael Cray doesn't get a lot of play in his own book, even though he's proven to be the most interesting character in the title when it actually focuses on him.

If the teenage X-Men can't even make Cyclops' search for his father compelling, then maybe it's far past time that they went home to their proper place in time and stayed there.

Pepe Larraz is definitely missed, although Kim Jacinto's art is also quite good. If that's what it takes to keep this weekly story going, then it's a relatively small price to pay.

This series has done a lot for Black Bolt himself in the last few issues, but I just can't fully recommend it with this art.

Priest hasn't lost his touch, and I want to see where he's going with this tale.

It seems like Juan Ferreyra can do no wrong on this book, and if Green Arrow hasn't established him as one of the best artists on DC's roster, then I don't know what will.

The pace of this issue is a little sluggish when it isn't dealing with Flash's outer space rescue, but it's still moving in a promising direction.

Losing Paul Renaud for this issue is a pretty big setback for Rise of Black Panther. Javier Pina is a competent artist, but this issue loses the dynamic visuals that made the first issue such a joy to read.

The overall story is a little light, but it's easily one of the best Rogue and Gambit tales in a long time.

This isn't a masterpiece, but it's off to a good start.

This isn't really a bad issue at all, but it feels like it still isn't as good as it should be.

If it wasn't for the art, X-Men Gold would be on some pretty shaky ground. But it really does need more from its heroes and villains to break out of this rut.

There are a lot of stories in this one-shot, but less than half of them are worth reading, and the rest were borderline mediocre at best.

There's potentially a major change in the status quo at the end, but we'll see if Tom Taylor follows through on that promise. Overall, this was solid.

There's still some real potential here, and it's nice to see the Lizard make his peace with the Spider-Man family. It was less thrilling to see the reveal of the mystery villain, but I'm willing to stick with this book for now to see where it goes from here.

The cliffhanger ending is a bit abrupt, but that's not enough to derail a very good issue.

This book has largely become a Slingers revival over the last few issues, and oddly enough, that makes it feel more like a legitimate Spidey comic.

Priest brought his A-game to this one, from the quiet moments between Kid Flash and Power Girl to Slade's hilarious attempt to con someone else into doing his killing for him.

This issue may not have the same impact if you weren't reading Gerry Duggan's Uncanny Avengers run, but for those who have read it, this is a fitting conclusion to the connection shared by Deadpool and Rogue.

If this is what Harley Quinn's going to be like for the foreseeable future, then it might be time for a break from this title.

Mystik U wants to be Harry Potter like nothing has ever been Harry Potter before. And I'm not charmed by its attempts to re-envision DC's magical heroes and heroines as teens at a magic academy.

Rosenberg does pretty well on his end, and I always appreciate characters who come from a deep dive into Marvel continuity. Now I want to why they're back.

For a new series, this is off to a very promising start.

Although the art managed to hold my interest throughout the book, the lead time travel story is already starting to feel stale.

The ending is abrupt, but powerful. This feels like the conclusion of everything that Tynion has been building towards since the beginning of DC Rebirth. We'll just have to wait and see if what comes next was worth tearing it all down.

This is one of Rafa Sandoval's best issues to date, and he gives the villains a real sense of danger and power that they've missed in their last few appearances.

This feels like an ideal setup for a long term series, and it may even have as many legs as Polly Peachpit herself.

This one-shot felt like the end of the last few years' worth of Inhumans stories. The former royal couple can't simply resume their relationship, but "forward" seems a great note to leave them on.

Right now, this is a title that could really use some surprises and suspense, as well as a better defined take on nu-Raven. I'd really like to see that happen.

This lacks the heart and emotion of his earlier work, which used to define this book as DC's answer to the X-Men. Now, it's just another teen melodrama.

One of the things that's really admirable about this Thanos series is that neither Donny Cates nor Jeff Lemire before him have tried to soften the Mad Titan. He's the main character, but still completely unrepentant about everything that he's done and continues to do.

There are times when it feels like Warren Ellis is too in love with letting his characters talk endlessly about what sexy bastards they are. And there's some of that here, but there's also some shades of The Authority and even a flashback sequence that seems reminiscent of Planetary.

There are definitely worse issues, but this was only slightly above average at best.

It feels like this issue is a road-map for what will come after this, and it's got an intriguing role reversal for two of the book's leads. That's why this is still one of DC's best titles, month after month.

All told, it's a very entertaining package.

There are some good character moments throughout, and I wasn't as annoyed by the art as I usually am. This book deserves the benefit of the doubt before the claws come out.

On top of everything else, the new creative team has some pretty big boots to fill on this book, and they don't nail it this time out.

I still want more from this book than it's currently giving, but this is a step in the right direction.

There's a lot of heart in this book, although it hasn't entirely come together. But even the brief glimpses of its potential have been enticing. So much so, that Zdarsky should be considered for the flagship Spidey title, now that it seems like it's about to need a new writer.

Visually, this is a very, very good book. It's also incredibly boring to read.

There's still potential in this set up, bit the comic has yet to fully live up to it.

Gail Simone has believably forged a bond between Conan and Diana that seems destined to break when he goes back to Marvel next year. In the interim, there's some genuinely moving material here.

This story is a mess.

In many ways, Action Comics #995 feels like a throwback to the way that comics were two decades ago. Dan Jurgens' approach to writing Superman and Booster Gold doesn't seem to have evolved too much in the last twenty years, although Superman is uncharacteristically angry with Booster.

This is still Marvel's most consistently great book, by far.

One of the big reasons that James Tynion IV's run on this title is so good is that he has really strong takes on the new team of Gotham City heroes. And that's why it's so disconcerting to see the characters seemingly acting well outside of the personas that Tynion has established.

I appreciate the callback to the '90s era of DC's cosmic books that occurs in the final pages, but this story just wasn't very compelling. Only the art kept it interesting.

This week's regular issue of Harley Quinn was the last one by Amanda Conner & Jimmy Palmiotti, but this one-shot is a more fitting coda for their run with the character. This is just pure Harley insanity with great art by Conner, Chad Hardin, Otto Schmidt and Ben Caldwell.

It's really not a bad issue at all, beyond the fact that it's just not very exciting. We've been down this road many times before, and there's not a lot that's unique to this issue or series.

It feels like this comic has fallen into the trap of simply sending Michael Cray after broken or crazy versions of DC's greatest heroes within the new Wildstorm universe.

There is a certain amount of running in place to pad out the storyline. But once the pretenders stand revealed, this "meaningless" tale feels a lot more important in the long run.

This is far from an essential issue, but it's still a noticeable step above the current X-Men: Gold arc.

Of the three current ongoing X-Men titles, this is still by far the best one.

Visually, this issue is not done in a style that I enjoy and it may be better off in the hands of another artist. The distorted faces and bodies are distracting, even though a few panels manage to capture the emotions of the widow.

There are good moments throughout, but the issue meanders and never quite reaches a fitting end point, even as just another chapter in this drawn-out story.

This issue is drawn by Juan Ferreyra, and that's really all you need to know about how terrific it is. But what makes this issue stand out is that Benjamin Percy delivers a script that's almost as great as Ferryra's art, and the result is one of the absolute best issues of their already stellar run on this book.

This story would have probably been better suited for the classic Archie style, but it's been progressively more fun with each issue in the series.

There's definitely room for a story about the Justice League being taken to task for some very public failures, or a Batman imitator ruining the team's good name with a willingness to murder the League's most prominent critic. But there is something off about the characterization of the heroes that makes it very difficult to enjoy this.

This is a visually stunning issue with confident sequential choices that make it easy to revisit for future readings as well.

I absolutely loved this issue, and that's not something that I'm always able say about the modern X-Men series.

It's extremely rare to see the heroes dispatch not one, but two villains so easily within the span of a single issue. But rather than make the heroes look strong, it makes the bad guys look weak by comparison.

Piskor doesn't hold back from some of the stranger elements in the X-Men's backstory, including the Stranger and (finally) Lucifer. The only truly objectionable thing here is that the second issue abruptly stops and the back of the issue states that more issues of X-Men: Grand Design won't be coming until "late 2018." That just stops the momentum of this series dead in its tracks.

This is still one of DC's best monthly books, and well worth your time and money.

The two words that come to mind with this issue are "anticlimactic melodrama."

This is just a really fun issue that shows off what this title can and should be when it inevitably returns.

Visually, the book is as great as ever. However, the inconsistent tone and jarring story beats make it less enjoyable than it should be.

Suddenly, Nightwing seems very much like a book that is better left on the shelf.

It's decent enough, but it feels like it isn't living up to its potential to be a great Spider-Man book.

It's too soon to tell if the rest of the crossover will live up this opening chapter, but it's a great calling card for Jimenez's future work. He's got the makings of a superstar artist.

It's not clear if Uncanny Avengers will be coming back after the next big Avengers crossover, but it deserves to keep going.

It's a slightly above average comic, one that's passable but nothing special. With a stronger script, it could have been more.

I hadn't been looking forward to this before, but it's proven to be much better than expected.

There are definitely worse issues, however this fell short of its trajectory.

Overall, this is an uneven installment of a series that still hasn't yet been able to find its legs.

This is just a great book that rarely falters, and this creative team is on a roll.

This isn't quite as strong as some of Tynion's previous arcs. Hopefully the final outcome will be worth the rebuilding phase that comes after this.

So far, this story is not living up to the art.

This series could have used more of that emotion earlier in its run, but better late than never.

Oddly enough, this issue reminded me of the Franken-Castle Punisher run, but only because the current direction feels unsustainable and ill-fitting for the title character.

This title has an abundance of riches with its artists, now it just needs to give them a more compelling story to render.

Apparently the DC heroes are all villainous dicks in the rebooted Wildstorm universe. Now that sounds like a Warren Ellis story. However, it's getting harder to invest in Michael Cray as a leading man when the issues seem to be more interested in which corrupted DC hero he's going to go after next.

On the whole, this is more enjoyable than the previous issue which kicked off this time travel story. But it still feels like X-Men Blue isn't living up to its potential.

Credit where credit is due, Charles Soule pulled off a good twist in this issue. What's really impressive is that Soule clearly set this event in motion during the previous issues, but he didn't draw too much attention to it at the time. Just a few pages and panels, here and there. But it really works.

Most of this Avengers and Champions crossover story has been pretty forgettable. But isn't it amazing what great art can do for an issue? Jesus Saiz, welcome to the Avengers.

This special is very skippable, unless you really want a reprint of that story where Batman sang Christmas carols with the GCPD. Not kidding, that's the bonus feature. And it's still not worth it.

This is a rare Christopher Priest script that doesn't quite come together, mostly because Deathstroke's Defiance team spend a little too much time navel-gazing in the early part of the issue.

This is a great setup, and a great issue.

The funny thing about Guardians of the Galaxy's current run is that there are things that I absolutely hate about it, like the revamped loser Nova Corps and the way that so much of the MCU Guardians' characteristics have been forced onto their comic book counterparts. And yet it's still one of the better Marvel comics on a month-to-month basis.

The ending is a little abrupt, but on the whole, this was the best Inhumans story in years. And if there's another Inhumans relaunch down the line, Priest and Noto should be the go-to team for that book.

This is the end of a Nightwing run that peaked early and never quite recaptured the magic of the early DC Rebirth issues.

This issue was on a roll right up until it essentially comes to a sudden stop just as things are really getting interesting.

As X-Men issues go, it's pretty okay.

Long time comic book readers are probably going to see the twist coming in this issue, but there's still something to be said about creating suspense for the fans.

Chad Bowers and Chris Sims not only pay tribute to Darkhawk's past, they advance the story for his alter ego, Chris Powell, and it feels like a natural step forward.

The annual itself is better than an average comic, but it's not anywhere near the creative heights that this series has reached during DC Rebirth.

I'm conflicted by the new Hack/Slash revival. On one hand, I love the idea of Cassie Hack getting dragged out of her early retirement to be a camp counselor for kids training to be slasher hunters. That's a brilliant setup. And yet I can't fully embrace this for two very big reasons: I don't like the art and the writer's take on Cassie just doesn't seem like the same woman who headlined her own comic book series for years.

The first thing you that may notice about this issue is the phenomenal artwork by rising star Jack Herbert, with industry veteran Tom Derenick lending an assist on the layouts. Hal Jordan and the Green Lantern Corps has had the benefit of great artists since DC Rebirth began, and this simply continues the tradition.

This issue isn't bad enough to be terrible, but average is about as high as it can reach.

The basic premise is fine, but the pacing of this extra length first issue is ridiculous.

This isn't a bad issue, but it falls short of being "good."

I still want more from this book, but it almost always seems to come up short.

This week's issue of Action Comics is a great example of what happens when an artist elevates a script to the next level. Will Conrad's art is phenomenal, and he makes these pages sing.

This is a slow start for the new era, but there is some promise here.

This isn't going to go down among the best Astro City stories, but as a single issue diversion, it's fairly solid.

This arc wasn't groundbreaking by any means, but it was one of the better Batgirl stories since DC Rebirth began.

Welcome to the comic where the '90s never ended. But perhaps they should have, because this is an irredeemable mess.

It has to be said that Joe Bennett does an excellent job on this issue, particularly with the way that he makes his characters emote. The previously mentioned reunion is an artistic highlight that simply focuses on one young woman's face for an entire page...and it's great.

Harley Quinn's tone has taken a pretty dramatic turn in the last two issues. It's a very big departure from the majority of Palmiotti & Conner's run. So much so that adding this new layer of tragedy to Harley feels inconsistent with the comedic identity that this book had established.

I love a good surprise, and Imaginary Fiends is a great one.

This is good, but I want something great from this book. And I've been waiting a long time for that.

It has been over two decades since the last issue of Silver Sable, and she has changed in the interim. But that still doesn't account for how badly this issue mangles Sable's voice and persona.

Those are at least diverting moments, but it isn't enough to bring the issue together as a whole. Somewhere between the first part of this story and this chapter, it loses a bit of its charm.

This is not a good way to begin this miniseries, and there's really nothing here to recommend.

This is a good chapter, but we've all seen this story before. Now we need Robinson to show us something new.

This is an enjoyable issue to read, largely for the character dynamics and the art. Guggenheim wants to give us a Negative Zone arc for the next few issues. Hopefully it won't detract from the more earthbound stories.

Aquaman has been DC's best-looking books ever since Stjepan Sejic joined the series, and that trend continues here. Dan Abnett's scripts have also been strong since Sejic arrived, and now the series is picking up momentum by reuniting Aquaman with his supporting cast and furthering the rebellion storyline.

Dusk's reunion with Ricochet is one of the best parts of the issue, but the highlight may have been the subversion of the heroic beat-down.

Instead of a pivotal turning point, this crossover has been largely forgettable so far.

Guardians of the Galaxy once again demonstrates Gerry Duggan's ability to use Marvel's continuity to his own advantage. Instead of ignoring the previous stories, Duggan is able to skillfully explain why Star-Lord didn't know Nova was alive.

The ending is a little abrupt, and it leads directly back into Metal without really resolving the "Bats Out of Hell" mini crossover. Still, it was an enjoyable diversion, but not necessarily one that we needed.

This is the penultimate chapter of "Raptor's Revenge," but I'm pretty much ready for it to be over now. As much as I like Nightwing as a character, both Raptor and Blockbuster have been holding this series back for the last few months.

There are some occasionally terrific images, including Spider-Man's Batman-like moment and the final panel in the book. However, it still feels like this book hasn't found the right artist to capture the tone of the story.

The story of Superman and his family stuck on Apokolips with Lex Luthor has been fun, but this rotating group of artists is starting to hurt the book.

I really thought that this series had turned a corner a few issues back, but it still hasn't quite settled into a tale with forward movement.

"Mojo Worldwide" is officially a disappointment. But perhaps even more distressing than the lack of real stakes or drama is the fact that this six-part crossover simply fizzled out in the last two installments.

The jury is still out on whether it was a good idea to make Mr. Oz that particular character, but Viktor Bogdanovic stepped up with his best art in the story to date. That goes a long way towards making this a strong conclusion to a somewhat uneven arc.

The ending is abrupt, and it may have been a little too easy to let things play out that way. But as a complete package, this was one of the best issues to come out this week.

This was a good chapter, but it narrowly missed greatness.

Conner and Palmiotti have done an excellent job of making the readers care about Harley, and John Timms really delivers on that big moment. Timms' art has been easy to overlook, but his improvement has made the book even more enjoyable.

It's a good start for what may be Jessica's last adventure with her original creative team.

Dalibor Talajic's artwork is a treat to pore over, and even the Kung Fu monkey looked good. Unfortunately, that's not enough to overlook this issue's lackluster story and the half-hearted attempt to turn Shang-Chi into something that he isn't.

This series could have easily been derailed by everything else going on in the other Spidey or Deadpool books. Instead, it still works as a standalone title, and that's very good news.

There's definitely some potential with the premise for this miniseries; it's just not living up to it.

The Unity Squad isn't very united at the moment, but Zub's command of these characters has greatly increased since he started writing the book. Overall, the issue is pretty solid.

Visually, it's really enjoyable to look at and worth owning just for the art. I just wish the story could have been better.

Astonishing X-Men's rotating roster of artists keeps undermining the look of this series. Ramon Rosanas is a competent artist by anyone's standards, but Carlos Pacheco is a hard act to follow and their styles don't fit well together.

This Avengers and Champions crossover has a very '80s vibe to it, which isn't too surprising, given Mark Waid's involvement. Waid can handle a variety of tones, but he seems to be set on old-school super-heroics for the clash with the High Evolutionary.

Black Bolt is never going to be my favorite character, but Ahmed has done an admirable job of turning him into someone who is worth reading about even when the Inhuman royal family isn't around.

This is a very underrated book that is worthy of more attention than it's currently receiving.

Juan Ferreyra is just in a class of his own. But even the best art can't hide one of the weaker issues of this book's DC Rebirth era. Hopefully this title will bounce back quickly.

This might be the run that finally makes the comic book Guardians live up to their cinematic counterparts.

The ending does a lot to make up for the weaker parts of the issue, and the conclusion definitely seems to promise some fun times ahead.

Now, that is terrific. This issue is everything that a Chip Zdarsky Spider-Man story can be and more.

This issue might not have been the best entry point for new readers, as Brian Michael Bendis throws Miles Morales into a new story arc with minimal setup. Bendis seems to treat it as just another issue rather than a big Marvel Legacy reintroduction.

Herbert deserves a permanent place on DC's A-list books, instead of the fill-in pages he got here.

There may be some Doomsday Clock foreshadowing here, but as its own story, "The Oz Effect" is simply okay. Considering who Mr. Oz is supposed to be in relation to Superman, it deserves to be much better than that.

Batman: The Merciless follows the same path that the previous Dark Nights: Metal tie-ins used to introduce the various evil incarnations of Batman. But those books didn't have Francis Manapul as their artist, and that makes all of the difference here.

. I'm still not sure that we really need a Scarlet Spider book, but it's been much more entertaining series within the last few issues. Maybe that's all the justification that it needs.

This is a disappointment, and Captain Marvel deserves better.

This issue finally brings Tim Drake back into the orbit of his extended Bat-family, and that's just a joy to watch. It still doesn't make much sense to tie that into the ridiculous Mr. Oz storyline, but Tim's return makes the team feel more complete.

This series tends to get the most out of Ethan Van Sciver and Rafa Sandoval on art, but Patrick Zircher has made a very strong showing for himself in the last two issues. Zircher's classic style suits Green Lantern well, and he draws a really terrific Superman as well.

This is one of the strongest issues of Jean Grey's solo series, thanks in no small part to the art of Victor Ibanez.

This feels like the final issue of Thanos, which is an odd sensation considering that it will continue with a new storyline. Jeff Lemire goes out of his way to wrap up most of this book's major storylines and subplots. But most importantly, Lemire gives us a Thanos who is unrepentant about who and what he is.

It's not a very deep story by modern standards, but as an old school Thor flashback, it's a welcome return to what this book used to be. If anything, it proves that classic Thor can still be entertaining.

The artwork by Jorge Molina is at least fun to look at, and I loved seeing the classic costumes in action again. But "Mojo Worldwide" feels like it needs some redemption after this lackluster installment, and good art isn't enough to save it.

Aquaman has been one of DC's best books ever since Stjepan Sejic joined the creative team, and his art once again elevates this issue to a higher level.

I suspect that The Drowned is going to inspire some very talented cosplayers to bring her to life. But as a character within her own book, a strong visual isn't enough to make her compelling. Fortunately, the art keeps this one-shot from sinking into the sea.

Green Arrow has had an embarrassment of riches when it comes to artists since the beginning of DC Rebirth. Jamal Campbell turns out to be a very strong addition to that artistic line up, and there's very little drop-off in quality.

I think I've realized why it's time for a change on this book. Harley Quinn has become almost too unbeatable in her own title. When even her setbacks can be turned into victories, there aren't many reasons to care about the outcome.

It just wasn't very exciting to read and nearly impossible to care about. In a way, this runs the risk of diminishing the power that Planet Hulk had. But that will depend upon where Pak and Land go with it in the remaining issues.

Invincible Iron Man #593 has a lot of ground to cover to bring readers up to speed on Brian Michael Bendis' run, and for the most part, it succeeds. Although the double-page spread of Friday delivering an exposition bomb was perhaps not the most elegant solution in the early part of the issue.

Nightwing needs a change of scenery.

This book has an ongoing identity crisis between the comedic scripts by Chip Zdarsky and the more serious style artwork of Adam Kubert. The two halves of the book rarely mash up well together, and that means the jokes aren't landing and the tone has been wildly inconsistent.

It's doubtful that Luthor will remain in the light for much longer, but at least this opening chapter is entertaining.

This crossover is turning into more of a diversion than a big event for the X-Men. And that's fine, as long as it continues to be entertaining. But the shock value has already worn off.

There are far worse issues than this, but it is a little disappointing.

This issue reads like it was intended to be the final Renew Your Vows story, since it goes out of its way to wrap up the lingering plotlines of the series.

By the end of this issue, the straightforward Cable vs. Deadpool fight is no longer very straightforward at all. Things are only getting crazier, and I love it.

This is a rare tie-in issue that feels like it's far more important than the main book.

This is a very strong issue, but it's still carried by the art. Because of that, Zircher is welcome to stay on this title for as long as we can have him.

This isn't just a great Inhumans comic, it's simply a great comic.

As a new setup for Ragman, this could eventually work. But the opening chapter doesn't do enough to make me want to follow the rest of Rory's new life in the DC universe.

This is a terrific-looking comic book that captures a lot of the old Avengers spirit. Izaakse's Yanick Paquette-meets-George Perez style compliments this book well, and the return of Beast and Wonder Man also goes a long way towards establishing a good mix of modern and classic superhero vibes.

I'm not quite as blown away by the overall story, and it does feel a little incomplete outside of The Wild Storm series. But I'm willing to see where this detour goes.

The second part of "Mojo Worldwide" stumbles a little in this issue by keeping the focus primarily on the X-Men Gold cast and leaving most of the X-Men Blue team to cameo appearances in their own book.

One of the things I really like about Gerry Duggan's run on this book is that, even with the title characters seemingly squashed into something that resembled their MCU counterparts, Duggan still manages to get in some deep dive Marvel Universe references.

I have some mixed feelings about Scott Snyder's pending departure from this book. On one hand, it's really time to go when Alfred suddenly has a secret vigilante history and an enemy from his past who is out to kill both Alfred and Batman. But here's the thing that Snyder does so well: he keeps writing these emotional moments between Alfred and Bruce, and they all work.

I feel like I must have missed an issue of the Gotham Resistance crossover, because Green Arrow #32's script is really disorienting, and I had no idea why the heroes' costumes had changed so radically. This could have easily gone off the rails completely, but Juan Ferreyra's art once again proves to be the decisive factor in this book.

The comedy bits are really good, but the ending means that we're probably in for something a little more traditional. That's not always this book's strength, but it was a better than average issue.

If this is the penultimate installment of Bryan Hitch's Justice League run, then it's a bit of a letdown.

It's an improvement on what came before; I just wish this book would stop trying to make "the Bld" happen.

. Even if this wasn't a comedy book, Nauck's pages would have made it a standout issue. Maybe Kalan and Nauck should stick together for their next project. I'd buy that book.

If you're looking to skip a book this week, this is the one.

I really enjoyed the last crossover between Batman and the Shadow because it went through the trouble of bonding the heroes and giving them a place in each others' world. The Shadow/Batman seems to take place in the same continuity, and Steve Orlando wrote the last crossover. And yet it seems more remote and disconnected than the last tale.

The X-Men books don't always have the best records when it comes to crossovers, especially in recent history. But Marc Guggenheim and Mike Mayhew really do an excellent job in this opening chapter.

In this issue's favor, it does actually further the Dark Multiverse invasion by striking a pretty big blow against the heroes. So it's not a throwaway tale, but I was hoping for more.

This is what it looks like when an event storyline completely upends a loosely affiliated series that just happens to share the same universe with it.

The first storyline in this revival series simply sputters out at the end without a satisfying turn or even a tale that needed to be told. I really want to like this book, but it is very unnecessary at this point. Great art can only carry it so far.

Talajic captures the grindhouse feel and delivers on all of the action moments. It's just unfortunate that the final script didn't live up to his art.

While the dialogue occasionally falters, the visuals are strong throughout.

Boom! Studios' Power Rangers comics have done a lot to rehabilitate that franchise in the comic book realm. But Justice League/Power Rangers has done something equally impressive - it's made the Rangers feel like they can legitimately share the stage with the world's greatest superheroes.

As much fun as it is to visit the alternate world of Spider-Gwen, this series and its title character have always owed a debt to the sharply designed costume of the title character. The new "Gwenom" costume of Gwen Stacy with the Venom symbiote also turns out to be a home run in this issue, as Gwen finally goes dark.

Ultimately, this felt like a thin installment that didn't do enough to move the story forward. But that's a problem that will probably disappear in the eventual trade.

Somehow, I've never come across Germn Peralta's art before this Thanos ongoing series, but I'll be keeping an eye out for his work from now on. Peralta's pages make Thanos feel like an event book, as it should when the title character is fighting his Phoenix-empowered son, Thane.

This was one of the more entertaining X-books to come out of the recent relaunch, but X-Men: Blue seems to be losing some of the qualities that made it fun. Hopefully the upcoming crossover will turn things around again.

As the conclusion of the first major All-New Guardians of the Galaxy storyline, this is a pretty disappointing letdown. Gerry Duggan and Aaron Kuder's run has actually been pretty strong up to this point, but the resolution really leaves a lot to be desired.

Up until now, this has been a very fun title. I want it to be fun again.

Aquaman is peaking at just the right time, and there's never been a better chance to see just how great this book can be.

This one-shot does a good job of establishing the Red Death as a pretty credible villain, and that's an accomplishment in of itself.

As much as I loved the "Harley Loves Joker" backup stories, the main Harley Quinn title has been improved since it no longer has to fight for space in its own book. Jimmy Palmiotti and Amanda Conner have been able to write full-length stories again, and the extended page count has helped the story feel less inconsequential.

On the writing front, the story is still a little iffy. The Justice League's kids aren't the easiest characters to sympathize with when they're trying to murder one of their parents. But the bigger problem here is that Hitch hasn't quite hit the epic notes that he's going for.

This is what I want out of a Nightwing ongoing series. Hopefully it can maintain that when the tie-in is over.

I'm not sure what has happened to Adam Kubert's art style over the last few years, but I am not digging it. It just feels so unfinished compared to his work from earlier in his career. It doesn't help that Kubert is on the comedy Spider-Man book, and there's nothing inherently humorous about his art.

It's not objectively bad, but you won't miss anything by skipping it.

On the whole, it's a good issue, but not great.

Duggan and Lolli have clicked so well together that it seems likely they'll eventually be paired on an even more high-profile book. But for now, they've made their mark on Deadpool, big time.

This is the most uneven issue of Tynion's Detective Comics run. It basically zips through the Anarky and Spoiler story for a rushed confrontation with Batman that falls flat on the page.

This series didn't always find its way, but it went out on a high note.

This was one of the Generations one-shots that I had been looking forward to the most, since I'm fans of both versions of Captain Marvel. But Margaret Stohl's story really only delivers one of the title characters.

I expect more from Venditti, and he usually delivers. But this time, Green Lantern's flight fell far short of what it should have been.

There was a lot to like about the first year of this title, but this change of direction already feels unfocused and unsatisfying.

Of the Metal tie-in books, this was easily the best one yet. However, it feels like the Teen Titans have been relegated to guest stars in their own series. That's never a good look.

Jim Zub's latest issue of Uncanny Avengers finally seems to capture the team's dynamic without rehashing 2012's Rogue vs. Scarlet Witch subplot.

As a one-off issue, it's a very good interlude between arcs on this book. It kind of makes me want to see what Duggan could do with the team if he didn't have to force them to fit within the boundaries that someone else came up with.

This is definitely more decompressed, which makes parts of the book less than enjoyable. The rest of the issue is solid, but there could and should be more X-Men in this X-Men book.

Ahmed is still drawing the focus away from Black Bolt himself, and that feels like a questionable choice if we're meant to follow the title character beyond this opening story.

I think this series would probably be better served if it had a different artist.

Schmidt's style seems at home both in the sewers of Star City and in the more sci-fi aspects of the issue. That versatility is going to take him a long way. Percy also demonstrates his talent for making the script relevant, with an opening page that's all too current with the state of the country.

A handful of fun moments just can't make up for an unexciting issue that may or may not have happened even within the world of the comic.

The overall story is still unclear, and the book hasn't quite pulled its narrative together yet. However, it's early in the arc, and I'm still willing to give it some time to play out.

This issue goes full soap opera with Dick Grayson's love life, including a very classic trope that everyone will immediately recognize. I don't know if that's going to be more satisfying than the mature romance that Dick Grayson had earlier in this series, but we'll see.

It's refreshing when an issue with Deadpool is actually as funny as it's trying to be. Elliott Kalan's script has a lot of amusing moments, but it's the artwork of Todd Nauck that makes the visual gags sing.

Even during the moments that the script couldn't quite bring home, Medina's art still looked amazing. Medina would make a great permanent addition to this title, and I'd love to see that happen.

Surprisingly, the backup story has eclipsed the featured tale as the most entertaining part of All-Star Batman.

Deadpool is peaking in quality at just the right time, and it deserves to be recognized as one of Marvel's top books.

I'm not necessarily sorry to see this book end, since it really feels like it has run its course. But it's good to know that the series has become more fully realized as it heads into its final issue.

This is far from the best Guardians of the Galaxy story, but it is acceptable.

The general idea behind this book is solid, but the execution has been lacking.

As a done-in-one story, it's not bad. It's just not good enough without art that easily works with the story.

This is a gorgeously rendered comic, with great action and excellent figure work. It's hard to ask for more than this from a superhero book, and the art itself is the biggest asset of the annual

It's very good, and it deserves to keep going.

It's still too early to call Zub's run on this book one way or another, but I'm hoping the series can be great again.

There's some interesting territory in the story itself, but the series isn't quite living up to its potential

As a fill-in issue, this was simply "okay."

This has been an especially good crossover, and I'm already looking forward to the sequel.

Cable's newest adversary introduces himself in this issue and he's every bad guy clich that you've ever seen. It's very disappointing, even if it is an intentional choice by the writer.

Dalibor Talaji's chameleon-like ability to mimic manga and a more kid friendly style is very impressive, and it also fits in perfectly with Deadpool's delusions.

This book has gotten away from some of the team dynamic that made Tynion's early issues so enjoyable. I'd like to see this run recapture some of that sensation. It's still pretty good, but it used to be great.

If you're looking for an important chapter in Secret Empire, this definitely isn't it. But if you want a Doctor Strange vs. Baron Mordo with a side of the mystically empowered Kingpin and Ben Urich, as well as Spider-Woman with a ghost plane, then this might be for you.

Once again, Rafa Sandoval proved to be an apt choice for this title. Sandoval is no Ethan Van Sciver, but this issue let him go big with his action sequences and some of his pages are really impressive. His art enhances the script, and it almost made sense out of the Metal tie-in. Almost.

The storyline may not hold up under much scrutiny, but Harley lives and dies by her personality, and she has that in full effect here.

Three issues in, it's pretty clear that Chip Zdarsky's Spider-Man is a much more comedic take than we normally get with Spidey. But not all of the humor hits the mark.

This might be the best-looking issue of X-Men Gold to date. For that, credit has to go to Lan Medina, a criminally underrated artist whose work is always outstanding.

If you needed a reminder of how well this team can work in a comic, then this is definitely for you.

Ryan Stegman is the regular artist and co-writer of this book, and this is his first issue that he's written alone. Unfortunately, it's a bit of a mixed bag.

It must have taken restraint for DC to put Stjepan Sejic on Aquaman rather than one of the bigger books like Superman, Batman, or Wonder Woman. Sejic clearly has what it takes to be a superstar artist, but Aquaman is the comic that needed him the most, and his pages have revitalized this series in a major way.

This book is off to a pretty solid start, but I really want it to be the "great" X-Men title. It's not there yet.

This was a very pleasant surprise and this issue seems to prove that the modern take on Space Ghost deserves his own ongoing series from this creative team.

This is a very satisfying read that even sets up a potential game-changer for Oliver's legal status. I can't wait to see what's next for this title.

This is one of those occasions where the comic may work better in the trade paperback than as a standalone issue. It's good, but it felt like it should have had more.

I'm still not thrilled about the story that David F. Walker is bringing to the book, but his version of Cage reads like Cage. That's more than we can say for some comics.

After a few issues that felt like they went off the rails, Nightwing seems to be back on track with its current Spyral storyline. It still seems like Tim Seeley is paying homage to his own run on Grayson with Tom King, but it's a joyous throwback.

This series is getting more enjoyable, even though Gwenpool herself is somewhat difficult to care about one way or another.

There's a lot about the current Superman books that are very enjoyable, which is why it's so disappointing to see some of that goodwill get squandered.

The first thing that has to be said about Captain America #25 is that it has great art by Jesus Saiz and Joe Bennett. Their pages capture the best aspects of modern superheroes with nods to the past. Even if it didn't have a strong script, this issue would have been worth it for these pages alone.

Dalibor Talajic's art is gruesome and even grotesque where it has to be, while also charmingly insane when the events take place from Deadpool's perspective. Talajic's range as an artist is very impressive, and he deserves a bigger showcase after his performance in this miniseries.

Alvaro Martinez comes on strong in the final part of the "Intelligence" story arc, and it's a performance that really elevates a finale that would have been lackluster under another artist.

Its connections to the overall Generations event are negligible, but it is a very big story for Jean Grey, and that includes her younger self as well as the Phoenix. The issue kind of dances around a few continuity details, but it does actually fit into a moment of X-Men history without significantly changing anything.

This isn't Venditti's strongest outing, as his leads have some very out-of-character moments while declaring their friendship for each other. It's very on-the-nose, and Venditti's take on one of the classic New Gods doesn't even seem like the character that we've seen before.

Chad Hardin's return to Harley Quinn means that the opening story of the comic finally looks as strong as the backup story. Hardin's excellent character work and visual humor make this issue, but it can't do too much with the lead feature.

This is a very strong opening chapter, and it made the Inhumans feel compelling again for the first time in a long time.

It's strange reading an issue of Jean Grey after this week's Generations: Phoenix & Jean Grey #1, because that's a much better Jean Grey story than this one.

If this had been the first issue of a Cassian & K-2SO series, it would have been promising. But as a one-shot, I wanted more than it had to offer.

Mark Waid throws in some genuine surprises that feel in character for everyone, including Octopus' scheming, Scarlet Witch and Vision's alone time, and a character's decision to lie at a key moment in the battle. That makes one of the few heroic members of the team complicit in a pretty brutal atrocity, which could have some very interesting fallout.

This feels like an untold chapter of Bane's story from two or three reboots ago. Unfortunately, that has no place in DC Rebirth.

All in all, the best issue of the series to date. Too bad it's not actually about Black Bolt.

One prominent comic book creator on Twitter recently argued that Marvel's heroes are no longer allowed to fail. Champions #11 makes that statement a lie. Because the heroes not only fail in this Secret Empire tie-in, they are broken by that failure.

I wonder how long Priest can keep the semi-heroic Deathstroke and his superhero team together. It's an intriguing turn for the title character, but not one that seems fully sustainable.

For a one-and-done chapter within the current storyline, this was a remarkably strong issue. If Percy and Ferreyra ever get tired of this series, they seem well-suited to bringing their A-game to one of the Superman series.

This special is only worth it if you love Simonson's art or if you're a New Gods completist. But for anyone coming in without any background on these creations, it might not be enough to sell new readers on these characters.

However, the thing that I absolutely despise in the issue is the regression of Shawn Tsang. Her relationship with Grayson was the most redeeming aspect of this title. Without it, both Grayson and Shawn are less interesting than they were earlier in Seeley's time on the book. It's not enough to make me quit reading, but I hope the final journey is worth it.

The friendship between Ganke and Miles is still one of the best parts of this book, but the sluggish pace really does work against it.

If you were ever going to skip an issue of this series, this is the one.

"Revenge" started out as a potentially classic Superman story, but it ultimately fell short of greatness.

Well, no one can say that Scott Snyder isn't having fun with one of his final issues on this book. But it's really a showcase for Rafael Albuquerque as an artist and a co-writer in the backup tale.

This tale could have ended with four issues, but I'm eager to see where Steve Orlando and Scott Snyder take us in the remaining two issues.

This simply isn't one of the better efforts by either David or Bagley.

As presented here, Cable is just another time-traveling superhero, even if his mission is only vaguely defined at best. I really wanted more out of this title.

As a stand alone issue, some fans may find it somewhat lacking. But if this is one of Sam's final appearances as Captain America then it needed to happen to complete Sam's journey.

It's harder to justify this issue as a single purchase, but there is a chance that it will play better as part of the eventual trade paperback.

This issue offers a few hints about Deadpool's next move, and it looks like it could have bigger ramifications for the event. But the most satisfying aspect of this series is just how devastating the entire thing has been for Deadpool himself.

Martinez's action scenes are also exciting, and his rendition of the last page should have some fans very excited to see what the next issue has in store for Batman's extended family.

On his own, this version of Mr. Hyde could have become a fan favorite. But within the context of this tale, he's not enough to make people care about this Ghost Rider.

Williamson's take on Barry Allen doesn't even live up to his own ideals, and it's impossible to forget what a moron Barry has been in this story. Aside from Pelletier's art, this was very unsatisfying.

Van Sciver gives this issue all of the epic visuals that anyone could ask for, but there's only so much an artist can do to salvage a story.

In terms of the issue itself, it accomplishes what it set out to do - it made Captain Marvel's space battles feel important.

Gwenpool the series is still good for a few laughs, but it's far more refreshing to see a serious approach to her antics.

Overall, this was a very good issue, and even the humor seemed less forced than usual.

So far, this has been a masterful way to turn this book into one of DC's finest superhero adventures.

Assuming you know who Bettie Page is, or if you're familiar with her previous comic book series, then you may realize that the latest iteration of her comic doesn't quite do her justice.

When watching the Bill & Ted movies, it never occurred to me to ask whatever happened to their mothers. Bill & Ted Save the Universe not only deals with that idea, but the answer is wilder than anyone could have guessed.

Cullen Bunn has pulled off a delicate twist with the second issue of this series. He's made Deadpool's murderous rampage into a superhero tragedy, while giving the series comedic interludes that are genuinely funny.

I didn't realize it until this issue, but this series has basically become a team-up between Doctor Strange and the Netflix Defenders. It's something that we probably won't see in live-action anytime soon, but it does offer some fun pairings, including Doctor Strange and the Kingpin.

As for the story, the ideas behind the Ninth Circle's strategy are interesting, but in execution, they're just another group of supervillains.

I want to like this comic more than I actually do, but the art is carrying it right now.

This feels like several significant steps backwards.

This is a silly, silly comic, and yet it's just a lot of fun to read.

It's admirable that Marvel is giving these newer creators a chance, but not all of these stories are worth the cover price.

This is the final tale of Spider-Man 2099... maybe. It's really tough to say whether Miguel O'Hara will be back in the webs anytime soon after this. But if this is the end, then at least Spidey 2099 went out on a high note.

There's a quandary in this issue. Clark Kent, Lois Lane, and their son, Jonathan, spend the issue living up to the ideals of Superman while on vacation... but it's boring.

It still has a long way to go before it reaches the heights of Ellis' previous Wildstorm run, but this was a great issue and an encouraging step in the right direction.

The cliffhanger has a lot of potential, but it feels like a lot of the momentum for this story hit a wall.

It seems like the Parker Industries era is coming to an end soon, and I'm going to miss it. But it's going out on top.

Deadpool is great. And I don't just mean the character. Gerry Duggan and Matteo Lolli have really hit their stride with these Secret Empire tie-ins.

Overall, the issue falls short of the standards that it set for itself in the last year. Hopefully the conclusion of this arc will bring it back around.

I remain unsure about the Venomverse event, but this is mildly entertaining.

This just isn't a very enjoyable issue.

Maybe Generation X's time has passed. It was a great book in the '90s, but the new series has failed to take hold in its first four issues.

This isn't a bad issue by any stretch of the imagination, but it is relatively disappointing.

This is a good issue, but I want more out of this title than "good."

The cliffhanger is at least intriguing, but there had better be a good explanation for that heel turn.

It's nothing that we haven't seen many times before, but at least it looks good. Unfortunately, it's not as easy to make these characters into a compelling team again.

Starting off a new run in the middle of a crossover isn't ideal, so it's not entirely clear how Jim Zub's time on this book is going to play out. This is a fairly self-contained story within the Secret Empire event, but I'm not fully sold on Zub's take on Rogue.

It's always a thrill to see an artist jump on a X-Men book and immediately nail it. Cory Smith's artwork in the latest issue of X-Men Blue is very impressive, and his characters pop off of the page. Even Jimmy Hudson is improved upon, although he really should lose the "Kid Wolverine" hair.

I don't know what I was expecting from Zombies Assemble, but it wasn't an Iron Man romantic melodrama between Tony Stark and Pepper Potts. Given the title, I foolishly assumed that there would be zombies at some point.

If the Guardians of the Galaxy have to ape their counterparts on the big screen, then it would be a great consolation prize if their ongoing adventures were always this good.

If Jason Aaron wasn't so entrenched on Thor, Waid and del Mundo could take over that book without missing a step.

It's just not a very compelling story and there aren't many reasons to keep following Bane through the next issue of this maxi-series.

The biggest issue is that this series gave Black Bolt his voice back, and he sounds just like anybody else.

Waid really excels in creating the emotional stakes for the team, especially Miles Morales. He cares about his teammates, and he still has his compassion even when he's helping strangers. The downside of this issue is the rushed conclusion and Humberto Ramos' art.

There's a lot of potential here, even if this issue isn't quite as entertaining as the earlier issues in Priest's run.

If this opening chapter of this story hadn't had such a bland threat then this could have been really good. Instead, it's just slightly better than average.

Tim Seeley has given Blockbuster an interesting motivation in his campaign against Nightwing. As far as Blockbuster is concerned, Dick's not nearly as committed to saving Bldhaven as he is, therefore Nightwing is a fraud. That's not a bad way to go, although that cliffhanger ending isn't fooling anyone.

It's admirable that Marvel is giving these creators a shot for one of its big events, but it's simply not a very satisfying collection of stories.

If there's a complaint here, it's that Cho holds back on some of the adult humor by hiding the visuals. But this issue is so great that I'm absolutely on board for any future Skybourne comics beyond this miniseries.

It's neither bad nor good, it's simply functional for the issue. But it isn't a deal-breaker.

Ultimately, this is very disappointing. If this is the future of Spider-Man/Deadpool, then this series probably isn't going to stick around for long.

I'm concerned that this book is losing its momentum after "Superman Reborn." The Manchester Black story was a misfire, and this issue is a big step backwards in quality.

This issue is delightful, and it gives both Wasps their due. It's hard to ask for anything more than that.

It's a good issue, but it falls short of greatness.

I wish the story had been stronger, but the art is about as close to perfection as it gets.

This issue's biggest failing is that it builds towards a moment that would have been big for both the Guardians and for Secret Empire before pulling back and leaving only the team bonding intact. That's a frustrating way to end an issue that was close to being more than just a throwaway tale.

One of the more effective aspects of the Batman/The Shadow miniseries is that it retroactively makes the Shadow an important part of Batman's history. And he may even be the architect of Batman's destiny. That could have been very annoying, yet Steve Orlando and Scott Snyder pull it off so well that it could fit into the backstory of almost any version of Bruce Wayne.

With a stronger script that wasn't taking its time to go somewhere, this could have been something special.

Of course the final issue of Deadpool vs. Punisher couldn't pass up the chance to mock Batman v Superman: Dawn of Justice. But I'm afraid that gag was stale a year ago, and it just isn't worth the attention that it gets in this issue.

James Tynion's story is starting to get a bit convoluted. There are two competing narratives in this issue and they're not meshing well.

Compared to the other recently released milestone issues for DC Universe Rebirth, The Flash finishes up far behind in this race. Not even The Flash can outrun a mediocre story.

It's an intriguing setup, even if I don't necessarily like the creative direction that the book appears to be moving in.

This series still badly needs to find a consistent tone and quality.

This issue feels very much like a fill-in, even though Bunn offers some small advancement for Cyclops and Magneto's shared antagonism towards each other. But when it comes to the X-Men, I want more than just filler.

It may not be peak Guardians yet, but the foundation is getting stronger.

This issue fulfilled the promise of DC Universe Rebirth, and I can't wait to see where the series goes from here.

Much like Lobo/Road Runner, Wonder Woman/Tasmanian Devil goes through all kinds of narrative hoops to explain how the Amazon superheroine can meet the famous Looney Tunes character.

This isn't a bad issue by any stretch, it's just not special enough to fully justify its existence.

Depending upon how you feel about Benjamin Percy's work, this issue is either a jumping-on point or a place to stop reading it entirely. Because it looks like the Ninth Circle plot is going to keep on going into the next year. At this rate, it won't be over until Green Arrow #50, assuming the double shipping holds up.

If it wasn't for the classic Harley backup, this issue wouldn't be on our reading list.

DeFalco has a pretty good history as a writer, but this is not one of his better efforts. If Jessica Cruz wasn't the Green Lantern in this issue than it could have easily been published at any point in the last 25 years.

Minkyu Jung turns in some solid pages in this issue, but it's not enough to make Nightwing's solo adventures soar.

It's really funny watching the team deal with an ally who sees them all as little more than servants. The only downside to that lighthearted take on the story is that none of the dramatic elements come together.

This is a much more down-to-Earth take on the classic Wildstorm characters than anyone could have expected. It's too early to say how this will play out, but this is more interesting than the earlier issues of the series.

As nice as it is to see the X-Men get back to some old school superhero-ing, the resolution of the Nano-Sentinel storyline is very flat and disappointing.

The "Revenge Squad" arc has had its ups and downs, but the combination of Jurgens and Herbert has already demonstrated the ability to elevate this story to a much higher level. And I can't wait to see their next issue.

Whenever the marriage or family dynamics are in play, this book is gold. However, it falters a bit with the villains, particularly Normie Osborn. Asking the readers to take him seriously is simply a bridge too far.

Aaron Lopresti's art is a homerun on this issue, and he was well-chosen for this assignment. Lopresti is simply terrific throughout, and his storytelling skills make the book even more enjoyable.

The biggest problem with Sam Humphries' script is that it's too self-aware and borderline parody even before Bugs shows up. It just isn't very funny, and that drags down the rest of the book. However, Grummett's artwork really does make up for almost all of the issue's shortcomings. It's that good.

None of the other Secret Empire tie-ins have come close to the quality of the Deadpool issues.

The "Revenge Squad" arc has had its ups and downs, but the combination of Jurgens and Herbert has already demonstrated the ability to elevate this story to a much higher level. And I can't wait to see their next issue.

It's always a pleasure to see Ethan Van Sciver back on the Green Lantern titles. His art elevates the entire series, and even an opening chapter of a new story feels like an epic thanks to the level of detail and craft in Van Sciver's work.

This issue also does a very good job of making Omen more interesting, but the current status quo/twist for Wally West still leaves me cold. Abnett seems to be favoring melodrama over actual drama, and it's holding this series back. There's a lot to like, but it doesn't have to literally be a soap opera.

Whether the new era of Uncanny Avengers will be as good as the previous run remains to be seen. But this issue was well above average, and an encouraging sign for the future of this series.

For now, it's a very imperfect book.

Slade is still a jerk even when he's trying to follow a more heroic path, but that's why he's so much fun to watch. So far, the Dark Titans are off to a very promising start.

When they're together, Percy and Ferreyra are pure magic. And this issue feels like a new beginning for the series.

For the first time, the Paul Dini & Jimmy Palmiotti classic Harley Quinn story by Bret Blevins isn't the best part of the issue. It's still a very fun tale, but the primary tale is simply more compelling this week.

This isn't what I want from Justice League on a regular basis, but as a one-off, it's fine.

The early scenes with Roland aren't that enticing, but his story improves over the course of the issue until his confrontation with Nightwing. And I kind of want Nightwing to say "yes" to Blockbuster's offer, just to see what he has in mind.

The ending is a bit rushed and almost too easy, but the series doesn't really leave many loose ends at the conclusion. It's refreshing that a book doomed for an early cancellation still managed to have a satisfying wrap-up issue.