Fil Barlow and Helen Maier the lead designers for many cartoons during my childhood: Godzilla TAS, Ghostbusters, and Mighty Ducks, to name but a few. Their animated style gives Yorris a nostalgic look. 8house: Yorris' distinct look is difficult to go into unprepared. The characters have a wiggly quality to them, with shifting proportions. The panels share their squirmy shapes: they roll like waves across the page, often as part of the lettering. This book's visual style work because of Maier and Barlow's designs. The backmatter thoroughly covers the inspiration behind the look of the neo-victorian clothing and the insectoid monsters. 8house: Yorris #4 is anything but short on ideas.

All-New Ghost Rider #1 is not perfect and I frankly couldnt care less. Itenthralledme on a purely emotional level. It made me enjoy a genre I previously couldnt care less about using characters Ive never heard of before. I just need more of this in my life.

Tradd Moore looks like hes always having a blast drawing each issue of All-New Ghost Rider. His work is gloriously excessive, yet it never clutters the page. He nails scenes of action, horror and comedy in a way few artists can. All-New Ghost Rider #3 is the big surprise of All-New Marvel Now, and I love it to death.

Tradd Moore is leaving the series to continue his sage of Luther Strode, and while he will be sorely missed I am confident Smith's direction will keep the series strong. Moore's art is kinetic and powerful, but it's the way it locks up with the story and script that has made this my favorite book from All-New Marvel Now. I gave the book the slimmest of chances and every month it kicks my butt for ever doubting it.

Scottcartooning is fun and expressive, and work best in the quiet moments in Robbies life. Unfortunately it doesnt seem suited to the high energy supernatural flavours needed to create a Ghost Rider book. His interpretation of the All-New Ghost Rider design is particularly bad, and his Mr. Hyde monsters are a far cry from the over-the-top mastery of Tradd Moore.

This is more of a personal point, but I also prefer how Laura fits the Wolverine costume compared to her dad. The Black-and-yellow, iconic since the 90s cartoon, is a gaudy look on rippling, hairy Wolverine. I always preferred the brown and orange outfits, but Laura ends up rocking this costume. Something about her design, or Marquezs and Navarrots appealing figure work, makes the colors work for me. Laura takes the classic look and makes it her own.

All New X-factor feels just like the X-factor of old, it simply needs to get comfortable with its new direction. Peter David knows how to take mutants from the fringe of the Marvel Universe and make you fall in love. It deserves a fair shot.

Peter David writes the best team books out there. Everything about All New X-Factor is about digging into the characters and bringing them to interesting places. Already were seeing some of this come out, in a classic style that the creators keep up to date. Its a good read, and with time it just might be a great read.

All-New X-factor #3 is proof that Peter David hasnt lost his touch since the last volume. The man is one of the most consistent voices in comics, and this book is as rock solid as its writer.

By drawing the cast away from Serval Industries, All-New X-Factor #4 becomes a fine feather in David and Di Giandomenicos cap. If the team can continue to bring issues like this, I think wed have a great series on our hands.

All-New X-Factor #5 pushes the series into the final legs of its opening arc and prepares to solidify the line-up. Both Peter David and Carmine Di Giandomenico produce consistently well-done stories issue after issue. Together they have successfully made me care about Gambit, Quicksilver and Danger. Next month well find out if they can make lightning strike twice.

On the other hand, There are all kinds of cool moments in this book. Cypher has joined the team, and David seems to have a clear purpose in mind for him. Warlock and Danger already have an odd-couple vibe to them, and the Magus the kind of weird villain that I just cant resist. It's notthe best issue of the run, but All-New X-Factor #6 shows that the book is ready to move on to bigger stories. Im sold on the team; lets see what else David and Di Giandomenico can throw at me.

The rapid shipping of All-New X-Factor does make the wait for answers far more palatable, and luckily artist Carmine Di Giandomenico is such a workhorse that he keeps up with each release. His work is consistently solid and is quickly growing on me. He'sadjusting his voice to match Davids writing (or vice-versa) and it makes All-New X-Factor the most visually cohesive book of the All-New Marvel Now! relaunch.

Pop Mhan fills in for series regular Carmine Di Giandomenico, giving him a well deserved break after 12 straight issues in 8 months. Mhan apes Di Giandomenico's style and keep things as consistent as possible, but the energy is missing. Fight scenes aren't as masterfully staged, and in fact looking awkward and confusing. His figures capture the essence of the book, but offer nothing interesting on their own. Ultimately, All-New X-Factor #13 is just unmemorable, the kind of snack you'll probably forget on the side of your plate.

Johns Aquaman feels like book that got to tell exactly the story it wanted without compromise. It delivers a big finish in a grand, if overly quick, fashion. Above all, it reminds us that theres still wonderful places left to explore. DC may already be teasing its next big event, but what we got out of this was something special. And with Jeff Parker about come on board, theres no reason this book wont continue to impress.

The new team keeps things on course. Nothing about what made the previous run great is lost in the transition. Instead, Jeff Parker and Paul Pelletier provide another dimension to the current story, creating an issue that is sure to keep old fans happy and get new fans interested.

Unfortunately, the curse of the fill-in artist strikes again. Netho Diaz is an otherwise competent artist, but his facial work is atrocious. It wouldnt be as noticeable if it werent sharing the same book as regular artist Paul Pelletier. Colorist Rod Reis saves the day, keeping the look of the issue looks as consistent as possible despite the changing pencillers and inkers.

Parker, Pelletier and team are steadily working their way up the learning curb. Aquaman #28 is an entertaining romp that needs work on keeping its story points in sync. As it stands, it is still a strong piece of DCs lineup.

Brandon Graham keeps his script lean, making every word critical to the story. He also peppers the story with little inconsequential details that flesh out the world, includinga new alphabet (explained in the backmatter) brilliantly integrated into the story to letter sound effects. The world of 8house takes the style conventions of high fantasy and applies it to fresh ideas. By the end of Arclight #1 we only see a sliver of the possibilities 8house holds. The world is just too big for that. The story simply leaves you gasping for more. 8House: Arclight #1 is the most instantly captivating fantasy debuts I've ever read. I need to see where this goes.

Once all this isout-of-the-way, Avengers Undercover #1 quickly tries to take this new status quo and point it towards Baron Zemo and his Masters of Evil. Its too early to tell just how this direction with play out, and the “Undercover” part of the book isn't touched upon at all. That all said, Hopeless does keep his firm grasp on the cast, and Kev Walkers character designs and pencils channel both emotion and personality. I just needmore meat in this series to keep reading.

Mico Suayans art is clearly inspired by the overall visual style of Garth Enniss Punisher: Max run, evoking many of the same feelings. But where Max was a humanist look at the horrors of war and trauma of soldiers, Bloodshot Reborn is about violent culture. I never cared for this kind of heavily detailed style, it always leaves the book feeling cold and impersonal. Thankfully Suayan has a surprisingly effective grasp of expressions and emotional range, which is usually lost with this type of visuals. And thats Bloodshot Reborn #1: a book full of surprises.

Im surprised at how comfortably I can read Mico Suayans work. The fine details and liberally applied inks and lines are usually set me on edge, but here they help me sink into this world. Theres something about the way the blood seeps into the lines of Bloodshots hands, the way the skin on a persons face wrinkles with emotion. It feels oddly personal. Its a good look for this kind of weary, post-traumatic hero.

The story loses its poignancy in the scenes with the FBI. Diane Festival, a somewhat prescient special agent, leads the investigation of the killings but never uncovers any information we dont already know. This could still work if the scenes were particularly interesting. Unfortunately they mostlyinvolvethe boorish and condescending Agent Hoyt, who behaves like a complete dick to Festival fr no good reason. I cannot buy that someone his unprofessional is a high-ranking FBI agent. This section of the book adds nothing to the story.

Rudy's art is the most eye-catching element of the book. The opening pages carry a distinct Heavy Metal feel, before his layouts begin to warp with the scenery. His panels and design flex with every set-piece he stages, shifting to concentric like a target to panels that swirl with the water. Every page forces you by design to pause and absorb each moment, creating an immersive, if energy-consuming, experience.

What is incredibly satisfying is Marco Rudy's art.Honestly, you can cut out the dialogue and still get a perfectly good story through visuals alone. Sequences are clearer than issue #1, the lines and colours brought more into focus. Rudy's painted style is gorgeous, and every page is something to admire.

Both Marco Rudy and Langdon Fosss art is immediately eye-catching, standing out from the Marvel pack. Fosss figures are standard, but his page composition plays beautifully with Kots prose. On the other side of things, Rudys experimental, painted pages are dense and powerful. His action is more coherent than pervious issues, making Crossbones assault exciting and dangerous.

Marco Rudy paints the majority of Bucky Barnes: The Winter Soldier #6 with Langdon Foss drawing flashbacks. Both creators have their own unique approach to cosmic sci-fi. Fosss work understated while Rudy is eye-catching and explosive. The art in Bucky Barnes: The Winter Soldier #6 is grand and sweeping. Its one of Marvels consistently beautiful books.

Bucky Barnes: The Winter Soldier #8 is a misstep. I wanted to enjoy the book, the art was great and the story has neat ideas. The thing is that you can skip all but maybe 3 pages and wont miss anything crucial to the plot.

Garry Brown is a talented artist, and his work makes a solid impact, even during quiet moments. I love the way he draws Selina. Her frame is more powerful than we usually see, and her look in the suit (my god I love the suit) is total alpha female. Black Mask is positioning himself as Selina's rival, and his look under Brown's hand is chilling. Occasionally his details slip away in the big picture, but not enough to annoy a demanding reader like myself.

Garry Browns art is an excellent choice for this series. His lines and shadows shape the tone he and Valentine are making for the book. Occasionally some shots have less detail and some characters need to live without a face, but when he tightens up his work is riveting. Theres something about the way he draws a characters posture thats just as expressive as Valentines script. I mentioned it last month, but his Black Mask floors me every time I see it. He looks menacing in every scene, I love it. I want to give a special mention to Jae Lees covers, which are some of the best Ive ever seen. Inside and Out, Catwoman #36 is a great book.

Garry Browns art is growing more consistent with each passing issue as finds his rhythm. Catwoman #37 channels plenty of dark imagery and emotion. His story telling is quiet and economical. Brown shows restraint, which makes a more interesting reading experience.

Valentines smart writing is a blessing, and Garry Briwns art is a godsend. His art in Catwoman #38 is more finally detailed than before, which helps turn up the intensity. His action scenes, while brief, are hard and effective. Lee Loughridges colours make everything stand out, the thick black shading striking from the backgrounds.

Garry Browns art continues to wow me every issue. His brooding style is perfect for Gotham, especially bathed in Lee Loughridges colours. Im still waiting for him to really cut loose, and I have the feeling theres a big climax coming next month. Whatevers next, Im ready for it.

I want to make myself clear: Catwoman #41 is an excellent comic book, easily DCs best. Unfortunately those damn half-page ads, while tolerable in other books, were impossible to ignore in this issue. Loughridges colours and the books prestige drama tone clash with the gaudy colours and the models insufferable smirk. The ad forces your attention away from the story no matter how hard you try to ignore it. It was nauseating and severely hurt the reading experience. I implore DC to give up on this experiment and find new ways to wring money out of advertisers because this just isnt working.

Valentine has a way of testing the allegiances of her cast. I especially love her take on Penguin. His role in the story is a bit of a wild card, but each move he makes appears cold and precise. David Messina makes each character look regal, a savage nobility. This is the most action-heavy issue of Catwoman since the beginning of the Overarching Calabrese story, but it never quite got me excitement. They were over and done too quickly.

Minor hiccups aside, Catwoman #45 is a fine penultimate chapter to a great run. Selina has never felt so vital to Gotham. The writing and art aresuperb. Wherever Catwoman goes next, it will be difficult to escape the shadow of this masterful run.

Clandestino #1 is an engaging read, but it has poor connecting tissue between its three acts. Fans of the “Narcos” Netflix program will find a lot to enjoy in this book. In the backmatter, Nahuelpan explains how he produced this first issuealmost 7 years ago. The story so far is intriguing enough that I want to see how his work evolved since then. It's a strong series worth continuing with.

Couceiros style hits all my sci-fi buttons. Figures and environments are clean, the action is clear. The world of Midlothian and Tranent penitentiary feels taken out of a Robert Heinlein story, Starship Troopers without the Satire. Even so, the creators have a lot to say about crime and punishment and in doing so produce something wholly their own. Cluster #1 is sharp and engaging. It's a must read for sci-fi fans.

The character work does a fine job investing the reader in the story. Every soldier has a voice, a reason for us to keep reading. Halleran, Grace, Samara and Slarreg are all unique and compelling in their own right, even when they teeter towards the edge of a clich. Much of their likability comes from Couceiros designs. His imagery brings the strange alien planet to life. Ultimately Cluster #2 demonstrates that Brisson, Couceiro and Garland have a lot more coming our way.

Godlewski is the kind of artist I want drawing my sci-fi. His work is clean and free of unnecessary ink lines and shadows obscuring the world I'm meant to explore. His rendering of the town of Copperhead reinforces the books without bludgeoning us. While I'm not a huge fans of some of the alien designs, his work sells me on Copperhead #1.

Last issue I criticized Godlewski's alien designs, but in Copperhead #2 he steps up his game. The new characters and creatures he introduces are a vast improvement, even the ones relegated to the background. His work throughout the book is really strong, dark and moody when it needs. My biggest problem lies with the Sewell family. Turns out, the rednecks are a species called Alabamians. That's just lame.

Godleski's art is a big part of what makes |Copperhead #3 work so well. Each page and panel works to build tension and move the story while giving us a sense of the town with visuals alone. His characters are all a little world-weary, sadness etched right into their face. His designs continue to grow on me with each issue. Copperhead #3 is not the most exciting issue, but it propels the story to new places

Godlewski tops his art every issue. His layouts in Copperhead #4 are incredibly cinematic, especially his action and the way he centers the panel to obscure the peripherals. Ron Rileys colours are especially impressive. They stand out without ever appearing overly bright or garish, especially in the darker, shadowy scenes.

Waid and Samnee know their medium. Every issue, arc and volume is used as its own unique part in a whole. Daredevil #35 is a big step in the life of Matt Murdock. In a single issue, the book has been turned on its head. It feels like everything thats been promised to us has been coming true.

Waid and Samnee bring this volume to a close with the same grace and attitude they gave the title when they first came together. Daredevil #36 isnt the big climax you might expect, but its an effortless transition into the next chapter of their story. Personally, Im just glad that I dont have to give up one of my favorite books. Heres to at least another 3 years.

Daredevil #1 uses the all-new reboot in the smoothest way so far. Mark Waid and Chris Samnee make every issue look effortless. Theres intrigue, high-stakes terrorism and above all an overwhelming sense of fun. It comes highly recommended.

Visually, the book needs to balance a charming little dinner scene with some sinister plot developments, and Samnee nails it. His animated styleworks well with every story beat Daredevil #2 hits. Again and again, its hard to find fault withthis wonderful series.

At least Chris Samnee is still at the top of his game. He shares the storyteller billing with Mark Waid for the simple reason that hes really, really good at comics. Even when Im scratching my head over what everybody is trying to do, I am still able to follow the art perfectly.

Chris Samnee gives Daredevil #4 a sense of style few artists can contemplate. From the beautifully simple cover to the energetic fight scenes, every inch of the book is a triumph. Not a single panel gets wastedin this great issue.

Like in previous installments, Chris Samnees cartooning is stellar from start to finish but never really breaks the mold compared to his past work. His scenes pack some wallop when he draws some gut wrenching emotions across Matt and Foggys faces. His action is also well done, but the villain is little more than a slightly largerampaging robot, which doesn't open many possibilities.

Chris Samnee's art tries to keep things quiet and moody. His deep inky shadows and Matthew Wilson's coloursgiveDaredevil #8 a Francesco Francavilla-esque style. Unfortunately the team set the scene's featuring the Purple Man in deep darkness that obscure his skin colour and make things a bit confusing to make out clearly. I could not for the life of me make the connection that the man known only as Zeb in the opening pages was in fact the Purple Man until I thought hard about Joe Caramagna's letters and realized what the pale mauve words meant. Little flubs like that only serve to take you out of an otherwise solid art job.

Colourist Matthew Wilson brightens his colours only slightly, but the effect is noticeable. The purples stand out more, without taking anything away from the horror edge thatSamnee's scenes and inks bring to the book. If you took Daredevil out of the book entirely, the issue would be an old-school british horror film. It's another new flavour thatWaid and Samnee bring to their fantastic run.

Chris Samnees art is key to bringing Matt Murdocks depression to life on the page. He continues to redefine how to visually represent Daredevils powers in exciting ways. His story telling is crystal clear, as always, and this time things get bloody and brutal. Waid and Samnee close out this arc in a satisfying and emotionally resonant fashion.

Mark Waid uses the issue to put Matt Murdock in a place where he has to consider if hes become a washed-up hero. Its an angle I havent considered when the DD writes a book subplot began. But Daredevil has spent the last four years with Waid and Samnee in a new renaissance, propelling the book to critical and commercial acclaim. This dissonance, combined with an underperforming story, makes Daredevil #12 hard to digest

Im going to miss Chris Samnee. Sure, hell pop up on another book, but hes Daredevil art is special. I love the way he illustrates Matts powers, the figures he draws. His storytelling choices should be taught in schools. Joe Caramangas lettering deserves a special mention. His work is always solid, but he stands out in this issue.

Adam Gorham is a well-rounded artist. Dead Drop #1 is action heavy and imaginative. It's one long extended chase scene that Gorham keeps interesting with an even hand. Theres a great sense of motion in these pages. He highlights action beats withpanels that pop into a scene, letting you catch little moments while conserving space. Dead Drop #1 is another successful collaboration between Gorham and Kot and another feather in Valiants expanding cap.

It's notan explosive conclusion, but Dead Drop is such an enjoyable mini-series that I can forgive a lot. This mini-series is a fun race through the Valiant universe that spotlights a few characters you might have missed if you have only picked up one or two tiles so far. I had a few good laughs and felt real emotions for an obsolete joke of a character. Dead Drop #4 is a solid end.

Deadly Class is a great way to kick off 2014. Remender and Craig immediately separate this story from the pack, making it both thrilling and real. This is the start of a very promising series.

Wes Craigs art is amazing. I could write an entire essay on how well his layouts move each scene. His use of the gutters is particularly effective. He can fill a page with upwards of ten panels at a time without ever cluttering the book. Lee Loughridges colors neatly reflect Marcuss outlook. Everything is a bit darker, without blanketing scenes in unnecessary shadows and murky hues. The grim face Marcus sees on his classmates get a tad overbearing, but its a small price to pay for a damn fine-looking issue.

Wes Craig also gets to play fast and loose with conventions. He never settles for simple panel arrangements and grids. Craig always sets out to one-up himself, and he succeeds far more than he fails. Deadly Class #3 succeeds on the backs of its characters, and both Remender and Craig ensure that their creations have plenty to work with.

Wes Craig continues to impress with his dense, intricate panel arrangements. Colorist Lee Loughridge also ups his game, using an almost citric palette to bring Las Vegas to life in between Marcuss hallucinations. Deadly Class #4 is a visually twisted take on the teens of Gen. X.

Deadly Class #5 tops Remender and Craigs already stellar run. I couldnt imagine a way to improve this issue. Its a whacked out dive into the unsettling minds of dangerous kids, and this is the best example of it I can give you.

Wes Craigs trippy imagery and inventive compositions come down with Marcuss trip. The simpler pages are more effective in capturing the brutality of this story, which has some dark implications. Together, Craig and Remender deliver a great finish to the first arc of one of Images top books.

Wes Craig continues to make each issue his own. I am always impressed by the stellar way he crams each page with sometimes dozens of panels while still leaving breathing room for Remender's script. But no matter how dense it becomes, the storytelling is always clear, your eye following every transition no matter how intricate he makes things.

The art, exactly like the story, is stunning in the present day and lackluster during the flashback. Lee Loughridge is well-known for the way he colours each scene using similar pigments and complements. For whatever reason, in Deadly Class #8 he limits himself further to a single monochrome for every section of flashback. The book is flat and pale and lifeless. Wes Craig's triesto stand out, but this strange colouring choice stifles his work.

Wes Craig turns in fantastic work as is his M.O. Deadly Class #9 is less ultra violent than most issues, but Craig keeps things lively and finds opportunities to sneak in some of his layouts. Lee Loughridge works skillfully with Craig's art, giving the book a mood that's all its own.

Wes Craig and Lee Loughridge have their chance to cut loose after a few quieter issues, and they seize the opportunity with gusto. The page layouts are exciting, effortlessly guiding you through the chaos. Deadly Class #10 sets the stage for the arc's bloody final chapter. Marcus and Saya mightreap what they sow.

Speaking of violence, Wes Craigs fight scenes are incredibly well done. The past few issues were light on the action, but Deadly Class #11 throws everything out at us. Craigs choreography and panel composition is some of the most inventive work in comics. He never lets the fighting dominate the page, always giving equal time to his characters expressions and reactions to the violence around them. Deadly Class #11 ends on a cliffhanger, and Im desperate to find out how it resolves when the series comes back in April.

While the narrative is lacking this month, the art in Deadly Class #12 still shines. This isWes Craigs best issue since the perfect Deadly Class #5. Theres so many great character designs, so many amazing action scenes. His page composition is incredible. Visually, the issue is like an adrenaline shot to the eyeball. Deadly Class #12 isa weaker issue, but the art is so good you just might overlook its problems. I certainly look forward to next months chapter.

Paul Levitz and Sonny Liew are both credited as storytellers, and the two are a fine duo. Dr. Fate #1 is almost a ghost story. Demonic hounds and supernatural presences howl in the background while Anubis stalks the city. Liew draws his figures with thin, knobby limbs and soulless white eyes. When Khalid accepts the helmet, the world explodes into a mind-expanding burst of shapes and colours. Lee Loughridge pulls it all together with his colouring. His choices are bright and clean. The focus is on drawing attention to Liews lines, making them stand out even more. In an issue full of strong showings by all sides of the creative team, hes the MVP.

Francis Portela has spent some time hopping around other Valiant books, such as Ivar: Timewalker. His line art in Faith #1 is clean, competent, and rather uninteresting. Marguerite Sauvage illustrates a handful of Faiths fantasies, and they positively pop with personality. Her art, like the writing, is so good that you wish the rest of the issue could hold up just as well. Unfortunately, Faith #1 simply a pleasant read, not a great one.

Artist Robbi Rodriguez and colorist Rico Renzi are the team of my dreams. Their work is gorgeous, especially when science itself goes insane and the imagery becomes captivating. Renzis soft colours are some of the best Ive seen, and I wish I saw his name on more books.

Rodriguezs pencils are in top form.  While he never gets to hit Tornado of pure physics level of awesomeness, he still gets a handful of warp tricks colored beautifully by Rico Renzi.  The quieter visuals showcase how great of a letterer Steve Wands is.  His contributions are purposely understated, but they really add to an already stellar package.

Robbi Rodriguez continues to demonstrate why he is one of the industrys rising stars. Is work is typically very expressive and clean. Unfortunately, the snow effect used throughout the issue blankets the issue in a difficult to look at white. Initially it produces a neat effect, but by the third page it begins to strain the eyes and seriously hurting the work of a talented art team.

Alberto Ponticelli is a criminally underrated artist, and I'm always looking to find more of his work. His lines are more solid than his usual scratchy style found in excellent books like The Unknown Soldier. He tweaks his styleenough to read comfortably next to FBP's usual style. Rico Renzi's colours help keep this effect. I had no idea there was a change in art teams until Ponticelli's more distinct style poked through by the book's last third

Unfortunately, the script is too wordy. The first 5 page sequence is about 3 pages too long. Its a lethargic, dense read that uses too much space without providing very much information. Fight Like a Girl #1 is at its best when it uses action to tell its story. Things picks up once the fighting begins, and by the last page the series finds a groove. If Pinckney holds back on the text, Fight Like a Girl will become a must read.

From Under Mountains #1 is easily read separately from the rest of the 8house universe, and its worthy of consideration. The series keeps its mythology and characters too much in the dark, but the intrigue is enough. If you like gorgeous Arabian fantasy, this is for you.

The biggest problem with Gotham Academy moving forward is the nearly explosive decompression. The barest hint of a longer story only pops up on the very last page. This is a series that DEMANDS a long, unbroken run. A single arc won't cut it. But you know what? I washookedin just a single issue, and would love to see the adventures of Olive and Maps continue for years to come. Consider me sold.

Gotham Academy #2's focus on setting makes the book light on urgency. There is no immediate conflict propelling the entirety of the series. Instead, the plot as it is pops up through character interaction. Problems appear whenever the characters reach them on their own. Gotham Academy's pacing is therefore slow by design. There is no overarching plot, as such. There is only immediate need that give our characters the opportunity to grow while we gleam bits of information about the school and themselves through their actions.

Gotham Academy #4 is a great issue in a series of great issues. This is a book that strips away the muck thrown over the franchise left festering by a consumer base that demands Gotham remain a shallow horror show. This series brings together all that makes Batman great without relying on tired angst. This is a series I could recommend to everyone, because everyone in it matters.

Kerschls art gives Gotham Academy the look of fine, hand-drawn animation. The expressions, the designs, all of it shapes the series, putting it in stark contrast to DCs other teen books. Its excellent stuff, and you can find more of his art in the excellent webcomic The Abominable Charles Christopher. Its too good not to share.

Artist Joe Quinones gives Howard the grumpiest face ever drawn. Its a constant expression that brings levity to every scene. Howard the Duck #1 is an even mix of modern visual storytelling with a silver-age feel. Spider-man in particular looks rippedstraight out of the old cartoons. Rico Renzi uses a very bright colours reminiscent of Munsta Vicentes work on She-Hulk. The style is fun, but its not very dynamic or exaggerated, which is a missed opportunity for a comedy book.

Im split on whether or not Iron Patriot #1 is a start of a potentially great series. I adore the creative team, but I only gotunfinishedideas sandwiched between a handful of strong moments. Im going to continue for another issue to see where things go, but Im certain many others wont be willing to give it the chance.

Admittedly, I am inferring quite a bit about Johnny Reds direction, but Im confident in the abilities of the creators. Ennis is a deceptively smart writer, and the team of Burns and Worde are greatcollaborators. Johnny Red #1 is a promising revival.

Ennis is often criticized over the ultra-violence, Johnny Red is relatively tame. The aerial dogfights depersonalize the violence when Red and his comrades are shooting down Germans. But as the tides of battle turn, Keith Burns line art evokes the visceral pain and loss of combat. His detail heavy fighter jets contrast with the blood that splatters the windshield, sickly coloured by Jason Wordie. The imagery seizes your mind. Johnny Red #3 doesnt want you to forget the reality of war.

Justice League United #0 is good. Jeff Lemire understands these characters. It feels like the book he wants to do. All the elements of a great series are here, they just havent yet clicked into place.

Mike McKones art makes a big leap forward from issue #0. His designs for the big monster the JLU go to some neat places, and are by far the most interesting part of the comic. His figures are all lean and practical. The interplay between his art and Marcelo Maiolos colours seems much more in-step, though overall Maiolos work is a little too glossy for my tastes.

Mike McKones pencils improve with every issue, even as the number of credited inkers rises. The alien designs slide from generic to creative with every scene, and his fights seem better choreographed than before. His big problem is the backgrounds, which rarely change from starry horizon or empty brown planet. Marcelo Maiolos colours are still frustrating. His penchant for dramatic color changes are so inconsistent than they feel so out-of-place those few times they pop up. Otherwise, Justice League United #2 is solid all around.

Hopefully Loki: agent of asgard will get over this opening hump. The issue has a clear purpose guided by a pair of steady hands. It simply needs to divorce itself from what others expect from it, something fans of Loki should find familiar.

Last month Ewing and Garbett got us through the Laufeysons origins, and Loki Agent of Asgard #2 starts but Loki is facingthe right direction.

Martian Manhunter #1 hints that deception is an importanttheme. I suspect that theres more to this story then meets the eye, some misdirection. Its with that expectation that I recommend giving this book a chance. The art is great and its impossible not to like Mr. Biscuits. Cautious optimism is the name of the game.

Chris Peterson and colorist Pete Toms enhance this druggy LA vibe with their art. Peterson is a great story-teller. I like how he controls the pacing and atmosphere with his panels. Toms is what really makes the book stand out. I love his vivid pop art colours and how they change aspect-to-aspect. Mayday #1 is a great debut, the perfect start to what will no doubt become a great series.

I call it anti-noir because while the story uses the L.A. Weirdness, actors, a self-destructive white male protagonist (the script calls Terrence this at least three times) and lots of drugs, the style is all its own. The colours are vivid, like every scene is bathingneon lights. Petersons art is very eye-catching in the hues. The book looks great from start to finish. I highly recommend Mayday #2 to fans of postmodern fiction, the works of Grant Morrison and Ales Kot, and anyone looking for an interesting new book by a couple of incredibly talented creators.

The plot only gets moving in the last two pages after an otherwise unimportant though visually and creatively exciting cold-opener. I think Im interested in coming back next month to see where it goes. Orlando and Aco know how to make this character work, and maybe theyll manage to convert me.

Alec Morgan is a perfectly capable artist, but when you look past the serviceable figure work you notice background details are halfhazardly inked in or a few limbs limb arerushed. There's an obvious Eduardo Risso influence, but without the heavy, moody inking and masterful page composition Morgan's work doesn't strike me as particularly memorable. And because I'm a new fanI want this book to stand out.

Monstress #1 is a confident book. The story is visceral, and exciting whenever it doesn't shock you into silence. Prospective readers shouldbe prepared for intense gore, mutilation and suggested sexual violence. Some scenes will churn your stomach. Those who are able to appreciate how the violence works within the story will find a wonderfully challenging tale.

Adrian Alphonas art is joyous and, thanks in part to colourist Ian Herring, vibrant. His style relies heavily on exaggerated cartooning to give Ms. Marvel #11 that distinct feeling only this title provides.He confines the actionto one room with little maneuverability, its difficult to make sense of where everything positioned in space. Still, Ms. Marvel is a beautiful book and makes a very pleasing reading experience.

Ms. Marvel #12 is a pleasant issue, but perfectly skipable. If youre looking to jump into the story, maybe wait until the next issue.

Unfortunately Ms. Marvel #13 has to meet the companies' editorial demands. Its no secret that the Inhumans are taking over the oppressed minority role once held by the mutants, both on-screen and on print. At this point, Kamala is the onlyreallysuccessful Inhuman character, and Marvel is using her to pave the way for the Inhuman takeover. This isnt subtle. The book opens in a training room in New Attilan (the danger room in the Xavier school) and leads to a villain that calls normal humans a subspecies and lesser beings who announces that there are multiple factions (The Morlocks, the Brotherhood) that oppose Queen Medusas (Professor Xavier) leadership. I got so frustrated reading this issue because Ive seen these plot points repeated thousands of times in the X-men. If Marvel is so desperate to replace the mutants, do it in Uncanny X-men or Inhuman and leave Ms. Marvel alone.

Takeshi Miyazawa concludes his short stint on Ms. Marvel and his work stands on his own. He provides excellent figure work and action. His biggest weakness is the interior of New Attilan. This new environment should feel alive with imaginative possibility, but the backgrounds will instead fade into a boring solid wall of colour. The Inhumans are Jack Kirby creations! Wheres the wonder and excitement? Its a minor sore point, because Ms. Marvel #15 is still a wonderful teen adventure title.

ODY-C #1 is one of the best new series of 2014. Its the kind of Sci-Fi I want to see more of in the future: mature, adventurous and challenging. I can understand if some readers areturned off by its heady subtext, but I think this book is incredible.

Fractions script is, in one word, catchy. His Homeric prose never feels rough or stilted like the lazy attempts at olde-english most writers use. Every sentence is meaningful. Theres also a number of great one-liners that are as hilarious as they are grim. Especially coming from Odyssia, whose brutal leadership is almost villainous.

The art in ODY-C #3 is stunning. Its the kind of sci-fi aesthetic A Scanner Darkly and the Heavy Metals movies tried to tap into, though I think Ward is more successful here. In certain places his page compositions remind me of Frank Quitelys WE3 in the way theyre placed within a larger scene. ODY-C #3 is brilliantly written, brilliantly illustrated mythmaking, the sort of story you drink in, like Apollos wine. Ive read and reread it a few times already, I think its pretty damn great.

Power Man and Iron Fist #1 is a smart comic filled with heart. The plot is a bit on the thin side the leads willfully ignore a few bright-red flags but makes up for it with a sense of humor and personable lead characters. Walker, Greene, and Loughridge have done a great job revitalizing this old team.

Pretty Deadly #2 might not change anybodys minds, but people on the fence might want to give it a close look. Behind the culture shock, theres a bloody new world of weird western that is worth exploring on its own. And behind that, Death rides on the wind.

Pretty Deadly is another great issue. Its a chilling read, with dark imagery and imagination to spare. With the book rapidly reaching the end of its first arc, its difficult to say where exactly its going. Wherever it may end up, it is certainly well worth the ride.

This is an exciting book. Theres a strange energy DeConnick and Rios seem to capture every month for twenty-four pages. Pretty Deadly brings together a number of unrelated influences into a damn good book, and its gotten me pumped for the big climax.

When all is said and done, Pretty Deadly #5 is still an effective and brutal weird western tale. The constant stream of information crammed into every page of the book is a little overbearing, and Ginny certainly feels like a secondary character in her own book. Regardless, this series looked and felt unlike anything Ive seen, and I cannot wait for DeConnick and Rios to team up again.

While not everything comes together in a satisfying way, Wiebe and Upchurch still deliver all the charm that made Rat Queens such a hit. The leading ladies are always a joy to read as they navigate their way through the chaos they find themselves in (or cause). Dee, my personal favorite Queen, is now poised to play a much more prominent role in this story, which I welcome with open arms. Theres a few touching moments, a handful of creepy scenes and a ton of laughs. Rat Queens #6 is light on the action, which is a shame considering the amount of energy Upchurchs art brings to the series, but his reaction shots serve the story well. The book is still good, it is just having trouble gracefully widening its scope.

Rat Queens #7 continues to demonstrate just why Roc Upchurch is one of todays top rookies. Many artists would consider somethingthis awesometheir best work, but hes clearly just getting started. His clear pencils and eye-catching colours give the book a visual style that carries you through the book.

Red Sonja and cub is a perfectly competent book, but only Red Sonja enthusiasts will find it anything special about it. I cant recommend it to fans of LW&C, and I doubt new readers will be particularly enthralled.

Robin War #1 does try to add some depth within the event formula, but the result is underwhelming. I do hope that it gives We are Robin a sales bump, because that book is great and its regular artists turn in the best pages of the issue. But unless you want to see how this series impacts the main Robin titles, Robin War #1 not a good start.

Runaways #1 is a charming book with a diverse cast in ever sense of the word. I only wish it accomplished more in its allotted time. Unless Marvel has plans to continue the series past Secret Wars, Runaways will end after 3 more issues. If there is only a few monthsto go, this simple story could use more progression.

Saga #16, while a little slow at times, is still a strong issue that reinforces what everyone already loved about the book since it began. Im still not quite sure why the events of the current arc required a flash forward back in issue 12, but it really doesn't matter at this point. Alan, Marco, Hazel and family are about to find their calm broken. It was fun while it lasted.

I couldnt be more pleased with how this issue turned out. Saga has been a must read since it launched a little under 2 years ago, and issue #17 may just be its best yet. Prepare your tissues.

And more time to create is a good thing. Fiona Staples has never half-assed a single panel in this series, making her contribution this issues greatest strength. Saga #18 is an uneven finish to an otherwise strong arc. Still well worth your money, its just not up to the teams usual standards.

Fiona Staples art is gorgeous per usual. Her patented Keep the kiddies away moment is glorious, but from there she isnt given nearly as many opportunities to flex her creative muscles as she should. This is all forgiveable once you get an eyeful of adorable toddler Hazel. Youll coo like an idiot at those levels of cuteness, I promise.

This is another quiet issue for Staples. He art is at her usual levels of quality, colorful and beautiful. Most of her effort goes into the faces of each character. The Robot's are always a delight, each frame always adding a layer of comedy or emotion to their scenes.

Fiona Staples is an artistic Wolverine at this point. She's the best there is at what she does. Her art is beautifully rendered in bright colours that catch your eye. While I haven't enjoyed the past year's worth of Saga like its first, Staples work has never wavered in quality.

Fiona Staples is obviously having some fun while shes back. The new direction gives her the opportunity to try out a few new designs, explore some new concepts. Her figure work as always is in perfect form, the expressions ooze out of the page into your heart. Now that the team has some gas in their tanks, Im guaranteed a fun ride.

Fiona Staples illustrates a bright, colorful issue largely devoid of any big moments. She delivers little moments, clear expressions and beautifully crafted figures. Im noticing more and more how uninteresting her backgrounds are when compared to the people in them. Its barely noticeable, but when someone points it out you cant overlook it anymore.

Secret Avenger #1 is jam-packed with plenty of fun and action, making it worth your 4$. The book draws you in on a sensory level, but it is far from mindless. It's a well crafted piece of pop entertainment.

Secret Avengers #2 shows off more of its creators personalities than the debut. Ales Kot often uses his characters to ruminate over the complex web of philosophies hes studied, but he does so with a charm and sincerity that completely sells you on any idea he has. Michael Walsh extracts himself from the tiresome David Aja comparisons everybody made and shows off more of his own talents in design and expression. Occasionally these same expressions overexaggerate a bit too much, but he really nails the quieter moments. Together Kot and Walsh give the title a bubbly energy that makes the Secret Avengers float over its slower, solemn Avengers cousins.

The plot itself is about how each member of the Secret Avengers realizes there is a larger plot going on, and therefore a mastermind. Any clues as to who is behind the recent attacks (and space monster rape) are surely steeped in layers of metaphor and more than a few easter eggs. Michael Walshs art keeps things fun, but the stresses of a monthly schedule are present in someobvious ways, mostly in the first half of the book. His dedication to keep things visually consistent for so long is admirable, but it wouldnt hurt to take an issue off between arcs to catch up.

Michael Walsh's art in Secret Avengers #8 is the best of the run. His work is more expressive, from the wild-eyed expressions of M.O.D.O.K. To the subtle sobs of The Fury. Matt Hollingsworth's colours pair nicely with Walsh's lines and shading. The book is dark, as you might expect from a spy story, but theirs enough contrast and range to his palette that are definitely familiar to any fans of Hawkeye.

In the golden age of the fill-in artist,Walsh's tireless effort to pencil and ink every issue of Secret Avengers impress me every time. His work brings the inventive paneling of David Aja into his own gritty, cosmically animated style. And if you still aren't at least a little curious about the Secret Avengers #9, there's an inter-dimensional whale and Monty python references. That should tickle your fancy.

Walsh did the art for every issue of the series since it launched, which is no mean feat in the era of the fill-in artist. Secret Avenger #10 may be his best work yet. His storytelling is crystal clear on every page. His characters look wearier than usual, like theyve been pushed to the edge and everything is going to hell. Matthew Wilsons colours are the strongest they've been for this series. The story might be barreling towards its conclusion, but the Secret Avengers creative team isstriving to make things bigger and better

In another world, Secret Avengers could be the end to all war and conflict in the Marvel Universe. Of course with an event like Secret Wars coming up, it will never happen. Kot, Walsh, Wilson, Moore and Clayton Cowles made a comedy in the classical sense of the word, and I appreciate the happy ending thats here for us to share.

The writing is dark, hilarious and profoundly disturbing. Lashleys art is a good match, but there are already some serious problems. This is the first issue of a new series, yet some of the work was clearly unfinished. Lashley inks only part of the book, whileDrew Geraci handles the rest. The difference is noticeable. While Lashleys pages are well-realized, Geracis pages have minimal backgrounds at best. Unpolished faces fill his pages. It looks like a rush job, which is a bad sign when its the first issue asthese types of problems pile up. DC's strict monthly schedule is notorious for making teams bring in fill-in artists and inkers, and itseems like that's the case here. I hope as the series goes on the creative team gets a handle on this issue, because overall I really enjoy Lashleys self-inked art, especially that incredible last page. Secret Six #1 has problems, but overall its highly recommended.

The new 52 Secret Six is on the right track, but its launch is uneven and wobbly. The series desperately needs an artist that can hit the deadlines. Dale Eaglesham is taking over after the Convergence hiatus, the prognosis is excellent. With luck Secret Six will find its footing.

Secret Six #8 blends magic, horror and comedy, andEaglesham, with Tom Derenick, carries much of that weight. The art and character designs express much of the team's personalities. Etrigans costumes are a riot. Derenick's fill in pages are not easily distinguished from Eaglesham, keeping the issue consistent. Jason Wrights colour art make every line clean and clear on the page. Secret Six #8 is instantly memorable because of the personality create by the combination of art and script.

Shadowmans new direction has done the character wonders. Jack Bonifaces struggle against his history and his inheritance is an eerie turn away from his dark superhero beginnings. This is a series well worth picking up.

Roberto De La Torre and David Baron return to illustrate the entirety of this issue, but this issue wastes their talenton a story that fails to produce a satisfactory ending for any of Milligans ideas. Shadowman #16 drones on until finally everything gets put away neatly. The series takes a break for a 3 issue mini-series, but I cant imagine how it will wash the taste of this issue out of my mouth. It is a colossal disappointment.

I cant recommend She-Hulk enough. It is a beautifully illustrated book that may have just introduced me to a new favorite character. I know people look on smaller books like this and pre-emptively declare that they will never make it over a year. That should never be an excuse to miss out on a title that has so much to love.

She-Hulk #2 is my pick of the week, maybe even of the month. Theres a quality these creators bring to the book that just isnt found anywhere else on the market. Marvel is facing a ton of competition from indie companies continuously upping their game, and this is exactly the sort of book they should be publishing to keep relevant.

She-Hulk #3 continues to impress. Theres very little about this series that doesnt work for me. Charles Soule and Javier Pulido give the series a look and feel that not even Doctor Doom can ignore. Neither should you.

What She-Hulk #4 lacks is urgency. She-Hulk has the time to travel to San Francisco for a friendly chat with Matthew Murdock, esquire, and even fight a little crime. Choices like this suck the excitement out of the book. Soule and Pulidos comedy is droll enough that it thankfully evens out this oversight, making She-Hulk #4 well worth your time.

Soules script is sharper than the art, but doesnt hit the heights hes capable of. She-Hulk and the Shocker spend the afternoon preparing for a mysterious case no one seems to remember. It feels like a scene out of Superior Foes of Spider-man, which is always a good thing. Angie and Hei-Heis sub-plot continue to gleefully creep me out, and the cliffhanger is a good laugh. The story derails itself when Tigra announces to Hellcat that shes a sexy independent cat-woman in a way nobody actually talks, and I had to put the book down for a second before continuing. She-Hulk #5 breaks Soules winning streak, but Im ready to come back next month. Deep down its still the book I long for.

These kinds of law stories usually end the same manor: the misunderstanding is cleared up or a mistake is eventually redeemed. She-Hulk #8 is powerful for what the story is, but how it's told. And it's done in a way that paints a big goofy smile on my face. Highly recommended

The issue is a bit of a slog, but Javier Pulido and Munsta Vicente make it a visually interesting slog. Their work pops off the page in the courtoom, switches gears to the somber tone of the flashbacks, the flips back for some casual superhero fare. The best parts are the little bits of visual humour he's been channeling in his work from issue 1. At this point, Pulidohas perfected Jen's rage-face which is really all you need to make a She-Hulk book work. His dense panel grids are another hugely enjoyable trademark of the series. His work is clean enough to keep pages clean while he fills in dozens of panels at a time. Pulido is a master, plain and simple.

Latour, with colour assists from Rico Renzi, draws a book that sucks you across the border directly into Craw County. Every character carries an expression that feels like it belongs in the south, or at least thats how this Canadian sees it. His imagery, from the towering tree that is Tubbs legacy to the mangy dogs that roam the roads, delivers poignant moments on every page. Southern Bastards #2 is a book that looks as mean as it reads.

Aaron's writing is bleak and merciless, and Latour takes every cruel world and spins the series into bloody gold. The people, the buildings, the hazy heat are all characters in their own way, drawncarrying the weight of the world they've built. There's no hope for them, just comfort, and Latour captures that as best he can.

Latour is one of the greats. His work is as bleak as the story. I love it when artists colour their own work, and his deep reddish-brown hues serve him well. Southern Bastards #6 ends the year in fine form, setting the stage for an even better 2015.

Latours dusty, gutsy artwork really brings the world to life. His style pulls you into Craw country, his colours make you feel the humid southern weather on your skin. Southern Bastards #7 may represent an exaggerated, spiteful look at the south, but Latour makes it real, makes it personal. You hate being there, but you just cant keep away.

Southern Bastards is about southern identity, which Aaron and Latour stare down with the bloody sneer of Boone's deer. Occasionally the series' reliance on tropes wears you down (one plot device in particular appears gratuitous, even for an exploitation series) but the message is still powerful. Southern Bastards #11 is an enthralling read.

Spider-Woman #1 is an example of what not to do when launching a book. It's a convoluted, confusing tie-in that will not please new readers. The spider-family has a rapidly expanding female presence, and most of them show up in this series. Spider-woman #1 wastes its potential. I cannot recommend it to anybody. If you don't want to miss anything out of Spider-verse,Just use Wikipedia instead.

Emanuela Lupacchino, Ray McCarthy and Hi-Fi respectively pencil, ink and colour Starfire #1. Their art feels, in a word, warm. Key West lookssunny and the characters are often literally glowing. Lupacchino does great figure work, her women are especially beautiful. She expressesa wide range of emotions. You can see this in a few small scenes where things get a little teary. Starfire #1 is silly and comical, but it has a lot of heart, something Koris been missing for a few years. I'm happy that she found it again.

Even with the warm Key West sun blotted out by Hurricane Betty, Lupacchino's strong expressions and Hi-Fi's bright colours keep Starfire #2 visually engaging. The physical humor and caricatures complement the wordplay and running gags. The end of the issue teases the proceeding half of the arc. It's not particularly moving but Conner and Palmiotti's voice is a big draw. I'll keep reading if they keep writing.

Lupacchino pencils another fine issue. Her clean style, joyful figures and Hi-Fi's bright colours are the perfect fit for this sunny Key West story. While Starfire #3 needs to iron away some of its weaker attempts at humor, I think the series has found the right voice for a great character.

Not much happens this issue, and what few characters Kindt seems to have a creative take on get needlessly sidelined. Now that the Thinker's plan is finally clear, maybe the reverse suicide squad will finally show up and give things a much-needed shaking up. Because I don't know how much more of Waller's self-aggrandizing monologue I can take.

Suicide Squad doesnt really have a purpose anymore. The events of Forever Evil never really come into play, making it an ineffective tie. Whatever promise it had in its early issues is not being delivered. This is a perfectly forgettable comic that is beneath the talent involved.

While it would be nice to see Soule start tending some of his hanging plot threads, Swam Thing #26 is still a great read, balancing creative world building against strong characterization. It remains one of the more accessible DC titles being published. With Soules popularity booming, now is a good opportunity to see the series that made him into the superstar hes become.

I love titles that keep the status quo constantly moving. Swamp Thing has constantly pushed to find new territory, never planting its roots in one spot for long. Dont let it pass you by.

The rotating artists and done-in-one approach keep the book looking sharp and focused. Pina provides a look that fits perfectly compared to series-regulars Jesus Saiz and Kano. Swamp Thing is a star making book, and issue #28 is as good a place to start as any.

Swamp Thing #29 doesnt wow me like previous installments, but it holds my attention. Issues like this tend to set up more interesting events, and theres enough here to suggest that there might be something big planned.

Javi Pina does the finishes over Saizs pencils for roughly half the book, but it flows pretty seamlessly. Saiz gets to have a bit of fun with a single fight scene involving Capucine, who is a complete badass, and a few sick horror moments. Its a solid book, if unremarkable at times.

Pinas finishes over Saizs layouts are a mixed bag. At a distance, the art is serviceable. The story telling is clear and the design for the Avatar of the Grey is so cool. But upon closer inspection, many faces and finer details are haphazardly in an attempt to meet the deadlines.

Swamp Thing #32 also illustrates just how screwed Alec Holland is after he destroyed the Parliament. Everyone seems well aware about how bad things are getting, makingAquamans paranoia justified. Even with that doubt in our head, Soule finds a voice for the Avatar that keeps our faith. Hes making mistakes, but we can still root for him. And even if he does ruin the planet, we still got to see him fight Aquaman and his army of Manatees. And thats just awesome.

Jesus Saiz brings his A-game to his last Appearances on this title. His penchant for creating immediately striking images from the endless growth of plants, flesh and fungi helped but Swamp Thing on the map. However this story plays out, Soule and Saz are going down swinging.

De La Torre gets the chance to flex the same muscles 'been using this past year on Shadowman. His scratchy figures and heavy shading contrasted by bright bloom lighting paint set the tone for whats to come. Dr. Mirage's design is the best of the line, really standing out on the page. The Death-Defying Dr. Mirage #1 is an effective start to this mini-series and I expect to see more from this character, and team, in Valiant's future.

The conflict Mirage tumbled thickens throughout the series as multiple A and B plots meet. Her immediate goal to severe March's supernatural connections and investigate her husband's disappearance becomescomplicated by a shady group of rich white men, of course. Thingsgets nutswith the arrivalofan army of orcs and the real Lost Boys, and it all comes together nicely. The Death-Defying Doctor Mirage #2 is a pleasant read, a fresh supernatural face and a fine effort by Valiant to diversify their line. More please.

Roberto De La Torre opens his panels a bit more, giving his scenes some breathing room and allowing us to absorb the environment. Visually, the after-life is a hodgepodge of locations with little connection. A single conversation can take place in a city of damned souls for one minute, a swamp the next, and end in an open field. The shifting scenery is beautifully rendered, De La Torre's scratchy pencils provide a dark atmosphere punctuated by colourist David Baron's bloom.

Mini-series often lack the time constraints of a typical monthly title. Because Roberto De La Torre has more time to work, The Death-Defying Doctor Mirage features some of his best published work in years. Theres some legitimately creepy and stunning imagery throughout these 32 pages. David Baron colours the issue in some sickly supernatural hues that mesh well with De La Torres signature style. The Death-Defying Doctor Mirage #4 looks and reads beautifully.

I highly recommend The Death-Defying Doctor Mirage as a whole, and Valiant has my attention while I wait for the sequel.

I had high hopes for Second Lives #1: I can safely it met all of them. Valiant has been on a high since launching The Valiant early this year. With a great cast and greater creative team, Second Lives keeps the ball rolling.

The b-plot doesnt work. Leo, the producer of Doctor Mirages reality show, tries to cast a stand-in for the deceased Hwen. Its a distraction. The rest of the cast is quite well realized. I like Seline, the sex magician, and her family of occultists. I hope they stick around. They animate the world with the strange roles they play. It's the little details that make Second Lives #2 a fine read. More of this, Valiant!

While the credits never specify who worked on what page, its clear just from reading that no single artist illustrated Second Lives #3. Diego Bernard and Tom Palmer assist Roberto De La Torre. They are obviously capable of imitating his style, but their pages are not as polished: faces can look awkward and clearly rushed. Colourist David Baron brings his A-game to make Second Lives #3 look consistent. This isnt a bad-looking issue by any means, its just a few points below average.

The Fuse #1 is a quick set up to what might be a long journey. In time, the series could be something special, a refreshing change of pace from the high minded sci-fi that seems to dominate the industry. Smart, funny and familiar, The Fuse should make you keep an eye on what comes next.

Kindt, Lemire and Rivera's The Valiant is more than just another good comic. It's a statement. It's a confident demonstration of Valiant's eye for talent. It's all the potential of the Valiant universe fully realized for all to see. If this is the state of Valiant comics going forward, then I can't wait to see what they do next.

The Immortal Enemy is another character that feels just a touch too familiar. His voice drips with that brand ofcackling menace we've seen before in dozens of deliciously evil villains. Luckily, Paolo and Joe Rivera illustrates every figure in a way that perfectly captures everything unique about their look. The Enemys split visage design is nothing short of genius. Every form he takes is chilling and intimidating. Meanwhile, no one can look at The Valiant #2 and think Bloodshot or XO-Manowar look like anything but themselves. The Valiant #2 does many things well. Visually, its almost perfect.

The only low point of the book is the interaction between the Geomancer and Bloodshot. Ive never read anything featuring Bloodshot before this. I like his design, but I feel nothing for the character. Hes gruff tough guy through and through, a Wolverine without the natural coolness of Wolverine. But even though Im cold to the character, Lemire and Kindt make his last few pages in the issue actually kinda charming charming. This is mostly thanks to their handling of the Geomancer, someone I wont mind seeing more of in other titles, assuming she survives the final issue. If the pair can create a few more scenes like this, Ill be more inclined to check out the Bloodshot relaunch Jeff Lemire is also set to write.

Whatever you might think of the aftermath, The Valiant is still an event to remember. I had a good time reading and reviewing this series. Ultimately, The Valiant succeeds at its main goal: providing new fans an essential entry point into the Valiant Universe. Its fun, its energetic, its a journey.

McKelvie and colourist Matthew Wilsons art is closer to godhood than the actual gods it depicts. McKelvies super clean pencils never lent themselves much to action, but the expressive designs really pop into your head and keeps your attention focused, even when the characters themselves might make you want to look away.

My own feelings aside, Rocafort's art and general style has its fans, so I'm certain Ultimates #1 will hit many a sci-fi sweet spot. Ewing and Rocafort have assembled a great team and the series is moving in an exciting direction. Unfortunately, the art does not appeal to me. I'm a bit let down, but still curious for next issue.

A few minor details aside, Unity #8 remains a strong showing from Valiant. Its a testament to the possibilities of the universe and by extension its entire line. More than justifies bringing this team together. I would highly recommend taking a peek if youve ever felt curious about Valiant.

Unity #10 manages to completely reverse my earlier opinions about artist Stephen Segovia'swork. When he does straight Sci-Fi, he pulls himself far away from the 90s art comparisons, making this Valiant book feel as modern as it should. The robotic facial expressions feel a bit too childlike to convey a sense of dread, but his sleek designs and body language do carry a fair amount of emotion.

The stories in Vertigo Quarterly: Cyan waver in some points, but there are a number of standouts to make this a good read. With all the discussions happening online, and in the Warner offices, hopefully Vertigo will learn from their mistakes and be more involved with their colorists when Magenta rolls around this summer.

The rest of the We Are Robin team makes only a smattering of appearances, so at this point we dont know much about them. The characters get some more face-time in the free 8 page preview you can easily read online. Currently, we are still a bit in the dark about who they are and what drives them. Khary Randolph illustrates a 2-page backup feature teasing a larger purpose for the team. I hope they deliver.

DCyou has some great new titles, but We Are Robin is my clearfavorite. DC needed an entertaining and socially conscious teen book, and this is it. We Are Robin #3 fun, engaging and representative in a way few books are. I say it deserves a fair chance if you havent already given it a look.

Its the Anita Christ character that keeps me coming back. She works so well you ignore the obvious pun. Shes a mystery, a deadpan Wednesday Adams type. Freddie Chthonic is another welcome addition. His white-boy MC act and goofy facial tentacles are surprisingly endearing. Artist Matt Taylors great at drawing the magic and architecture of L.A. but flubs the occasional face, giving Wolfe a wonky skull more than once.

This issue doesnt change everything, but nothing can stay the same. The issue's title,Vision Impairment, is very fitting: Zeros worldview shifts with each mission. Im desperate to see how dark it can go from here.

The issue concludes by introducing Edward Zero to a corner of the universe we were all previous unaware of. The unexpected change in directionprovides a strong hook for the series as it progresses. Zero #5 is a smart, efficient comic, and every month brings something new to the table. We've glimpsed where this book will end up, but the journey is something worth watching.

No book sticks in my head the way Zero does. I always need to sit and digest what I experienced. Zero #6 starts the new arc on the right foot. I just wish this talented, shifting team of collaborators would stop breaking my heart.

Zero #7 is Matt Taylors first full length comic work, but you would never be able to tell. His work is clear and detailed. He borrows from the books previous artists without ever aping their style. Both Taylors pencils and Kots script strike a happy medium by keeping thingsambiguous without calling attention to itself. Zero is a great book that makes excellentuse of its creator's talents

Jorge Coelho is a new name to me, but his work has made a fast impression on me. His panels create a tension throughout the book, felt whenever we peer down sniper scopes or watch as enemies circle. As usual, Jordie Bellaires colours wow me on every page. From the rays of sun that tear through the forest like bullets to dry brown forest looming in the background, every line ismore interesting thanks to Bellaires contributions.

Alberto Ponticelli is this months artist, a fine choice. I love his work in The Unknown Soldier, and he uses the same style to evoke the same sentiments about combat and death. His fight scenes are personal, they all have a cost. Ponticelli is the perfect fit for a bloody issue.