A lot of deep thoughts, great use of continuity and well-done art combine with a well thought-out plot, making this one a winner (and bringing back the red-and-silver suit.)

Combining explosions, robot wars and deep philosophical moments, this book is a very good read, especially (but not exclusively) if you remember the comics it's referencing.

Great cast, great art, fascinating story. It's the real deal…

The traitor I expected, but with unexpected consequences (and some lovely art.)

An interesting start for a title that simply CANNOT pick up where the last volume left off… Plus, the art is stellar.

A the mutant who is an Eternal who is an Avenger, Starfox is the unconventional key to the AXE conflict, and this issue makes a convincing case for his brand of heroism.

The resolution of the threat to Earth feels a bit sudden, but the art is wonderful and the things that come AFTER that literal Deus Ex Machina more than make up for it.

The title isn't quite appropriate, but even with an awkward transition and a sudden ending, it's an entertaining one-shot experience.

Action Comics #888 is well-drawn but hard to understand, earning 2 out of 5 stars overall. Both Greg Rucka and James Robinson are writers that I admire, and I hope that Ill be able to be more charitable with their next works

Its been a while since I picked up Action Comics, but I have to say, this issue wasnt a disappointment at all, even if it didnt go where I kind of wanted it to.

I am frankly overwhelmed by the amount of stuff going on in this issue, which is both a good thing and a bad thing. It's good in that the amount of story content for the dollar is very strong, but not so much with the good that it's hard to remember the first story once you've gotten to the end. I've read the issue three times through and I'm still finding things that I missed in prior readings. I am thankful that we have very little "Superman as Jesus" going on, a metaphor that has officially worn out it's welcome in my corner of Stately Spoilers Manor, and a couple of points in the issue (Superman arriving at a demonstration and standing silently in solidarity, the hero of a lost race commisserating with the Man of Steel about their status as outsider and protector) are quite unique and excellent. It's a shame that DC chose not one, not two but THREE spectacularly unappealing covers, with David Finch's striking me as particularly misbegotten to look at. Overall, though, you take the

Pak and Kuder have delivered on the book's title, with a lot of action (a fight scene with Superman and Ghost Soldier against an army of stone monsters is pretty exciting) but a thoughtful story in place as well. It's nice to see someone putting the lie to the expectation that having super-powers makes Superman utterly without weakness and boring, and I'm hoping to see much more from this team, even if higher profile Superman books like Unchained and the upcoming Geoff Johns run on 'Superman' may overshadow it.

Strong pacing, great character work and a big finish make this an entertaining read, even if you haven't been following Superman's adventures...

As with any story whose primary function is revising the story as written thus far (See: Avengers Forever, Crisis, Zero Hour, et al) the balance of in-universe to out-of-universe is key, and Jurgens does an okay job of making it work. He is not up to the task of hiding all the metaphorical men behind the curtains, though, and after reading, it seems clear that the idea of fixing continuity was the most important part. Still, Action Comics #976 manages that point with such a clear affection for Superman and his cast that I can overlook any of that, especially since Superman looks like himself again and his happy family is reunited.

Though bits of the plot are familiar, their assembly here works to great effect, leaving Action Comics #981 an effective and engaging read with excellent art on every page.

In a nutshell, the sheer number of characters, events and bits of business in these pages make it feel like it would be better served as two issues, or perhaps as the same story with fewer characters in play (even though that's not how Jurgens does things.) Action Comics #984 is still an above-average read, though, with some lovely art throughout, progressing the plotlines in interesting ways and once again reminding everyone that Mister Oz is out there someplace.

In short, this issue is muddled and not particularly satisfying for me, with Booth's ill-fitting art combining with a sudden focus on the guest-star and less-than-subtle plotting to make things just sort of okay.

Well-drawn, with some interesting story points that sadly don't seem to be going anywhere this time around.

Two perfectly executed flashbacks in the midst of an ongoing chaotic battle, with excellent art and a perfectly timed final page reveal make for a really good read.

This issue successfully focuses on the drama at the Daily Planet and the peril of the Parasite, but both threads feel a little underfocused. The art is nice, though.

This issue feels a bit rushed, but the quiet conversation between father and son really helps to pull it all together.

Three stories, three different tones, all with their own strengths (and weaknesses.) Not a bad package, save for the price point.

We also get some interesting bits of Legionnaire business, in the coming attractions section that Geoff Johns seems to put in his #1's these days, including hints about Dream Girl, Mon-El, Element Lad, complications for Blok and a fist wearing both a Legion flight ring and a Green Lantern ring. Clay Henry nails the Legion portion of the issue, even giving life to some of those weird Gary Frank costume designs from Action Comics, while Francis Manapul tries out a softer, more "pencilly" style in the Kon portion of the title, creating a nostalgic feel for the kid's homecoming. This issue was pretty much a laying of groundwork on both fronts, with enough information to bring those unfamiliar into the stories, while giving those of us who have been following the characters in "Legion of 3 Worlds" something new and shiny to obsess over. In three words or less? It's good. Good to see Kon back, good to have a Legion title again, good to have the ORIGINAL Legion back. Questions of

The Smallville half of this issue is very nicely handled, showing Kon's search for identity very neatly, and giving us a deeper glimpse into the relationship between Connor and Cassie. I especially like the fact that she sees right through his recent actions, telling him that he's obviously trying to grow up just like Superman. Ma Kent's sadness about the loss of her beloved husband as she watches the kids kiss is beautiful as well, making the first half of the issue pretty bittersweet. As always, Geoff Johns has a wonderful ear for dialogue, and Francis Manapul makes Wonder Girl so beautiful and expressive that the reader half falls for her as well. The Legion story is a bit more problematic, though, as it's almost entirely about Lightning Lad. That's not inherently a bad thing, but with this incarnation of the Legion just relaunching, it seems questionable to spend a whole story on ONE member of a team of 24, ESPECIALLY when a good portion of that team is missing. Even so, the story

Geoff Johns continues to deliver on both fronts with this book, as Kon's story deepens with each issue and this issue's Legion vignette gives us something entirely new and wonderful. I'm enjoying Francis Manapul's art on the S-Boy portion of the tale, offering a lighter touch and a more "pencilled" look than his work on LSH recently. The coloring is nicely handled, using pastels and sepia tones that give the story a quiet, retro feel. The moment where Red Robin takes off his mask and the two old friends finally got to see one another face to face is great. ("You really need a haircut," says Connor. "You need a real costume," retorts Tim.) As wonderful as last issue was for Connor and Cassie, this issue surpasses it, as best friends finally come clean with one another and their friendship is rekindled. As for the Legion, the new friendship of the Sun Boy/Polar Boy team shines, as we get one of our first looks at Tharr and get to reconcile the nerdy, reject Polar Boy with the Levitz-era

This was an oddly uneven issue, as themore engaging tale of the two has a much less entertaining or sympathetic protagonist. Tom Welling Prime is a whiny, pathetic little weasel, but his rage, his loss, and his pain really come through. Jerry Ordway's art is it's usual excellent self, to the point where I was able to identify Dan Didio immediately during his cameo appearance... The Kon-El second feature has a much more relatable character, but is short enough that it doesn't quite gel for me, giving just the hint of the coming Luthor/S-boy conflict, and returning (presumably) Lex's lost half-sibling Lena Thorul to the continuity, a very Geoff Johns touch. Francis Manapul's new art style is refreshing and fun, looking like it's shot direcly from the pencils. All in all, this issue balances itself out, with a slightly strong moment for, strangely enough, the Kryptonian from Earth-Prime. Adventure Comics #5/#508 is a well-handled issue on all fronts, earning a respectable 3 out of 5 stars

The solicitations say that this is Geoff and Francis' big goodbye to Kon-El, making me wonder if Adventure Comics is even going to continue with the announcement of the new Legion of Super-Heroes series and the return of Kon to the mainstream DCU. Even knowing that this could be a big swan song, this issue does two things that bug me... The first is taking the really entertaining and fun checklist bit away long before it would have gotten old (for me, anyway.) This is doubly noticeable when I realize how much of this issue is drawn completely from old Silver Age Mort Weisinger edited comics: Lena Luthor. The Time Bubble. The Luthor/Brainiac team. The whole "Am I good or am I evil?" schtick was the real hook for this particular series, in my mind, and I'm left wondering where young Tom Welling goes from here. The second complaint comes in the fact that this is the second issue to not feature the LSH at all, in what is ostensibly their home title... Still, the strength of Manapul's art h

I love me some Legion, and its good to see old friends again, but that lone wont carry an entire issue. Balancing out the excellence of the co-feature (an unusual protagonist in a by-the-numbers action movie plot) and the mixed bag of the primary feature (the revelation of the Legion, but as an ongoing chapter of a story I havent been reading, but super-fine art) ends up putting this one right down the middle

Flash takes the lead with a completely run-of-the-mill story pairing him with/against Weather Wizard, while Deadman gets a more unusual tale with some really impressive art by Jose Luis Garcia-Lopez.

Adventure Comics #519 is undermined by clashing styles, and while not truly awful, is a sadly below-average reading experience overall, rating 2 out of 5 stars overall, with one 1/2 star awarded solely on the artwork of Asrar. A few years ago, they tried to launch a series that would tell flashback stories of the original Legion, and now I start to realize why they scuttled it: It leads to stories that are either silly and dismissable, or meaningful but hard to reconcile with what we already know

All in all, its an imbalanced but not terrible issue overall, with excellent art throughout the book. Adventure Comics #520 is slightly better than okay, but better than it might have been, earning a composite score of 3 out of 5 stars overall. If we get Mon-El out of the zone, this is potentially really good stuff

The bottom line for me is that this issue felt quite generic, from the good-but-not-terribly-unique art to the overblown computer effects to the patented "Take-out-Dawnstar-so-she-can't-track-someone" subplot that gets namechecked in our brief Tellus sequences. The issue features 2 Legionnaires (3 if you count Dawny floating in a bacta tank) and one villain, and stretches out a minor fist-fight/exposition sequence to 22 pages without a whole lot to merit the attention. I like Mon-El as the Legionnaire chosen to wear a Green Lantern ring, but wonder why any Legionnaire had to wear one in the first place, and Sun-Killer not only bothers me for duplicating the abilities of existing Legion of Super-Villains member Sun Emperor, but for reminding me of Sun-Chained-In-Ink from Kurt Busiek's Trinity series not so long ago. It's not a disappointing issue so much as it is a completely uneventful "meh" kind of thing, a day-in-the-life of some Science Police guys who get to watch Mon-El fight and

The new kids are intriguing, the use of Glorith (who was the main villain of the Volume Four Five-Year-Gap series) is interesting and alarming, and every one of the supporting character appearances made me smile. Blok and Mysa's absence from the team is more justified in just a few panels here than when they left the main LSH book, and seeing Chuck and Lu discussing the new young heroes reminds me of how old we've all gotten together. Seems like only yesterday they were getting married on Mars, or fighting imaginary yetis on Wondil IX. Night Girl's mysterious disappearance from the main team post-Action Comics is finally explained as well, and her six on one battle sequence shows what a fun character she can be. Levitz & Jiminez hit all the right notes here, and Phil's art is just beautiful. His future Metropolis is reminiscent of things we've seen before (Coruscant in the Star Wars prequel trilogy for one) without being cribbed, and the range of body language and expression in his art

Nothing makes me more irritated than attempts to try and "toughen up" the image of the Legion of Super-Heroes, whose core concept is 'happy teenage heroes from the future.' This issue continues the trend of misusing or sidetracking characters with potential (and once again shows how ugly the new costumes are in Cosmic Boy's short appearance) but has some fun with the new Academy kids. Duplicate Damsel's drill sergeant routine is fascinating to watch, especially as Bouncing Boy serves as her quiet, humorous foil. I'm liking this arc in it's micro-scale moments, with the dialogue shining in a brief appearance by Legion mainstay Doctor Gym'll, even while some of the larger scale bits play less well for my biases. All in all, though, Adventure Comics #524 does a good job advancing the new characters and their arc, earning 3.5 out of 5 stars overall. Now, if only we could overcome the seeming belief that nobody but the founders, Brainiac 5 and Earth-Man deserve airtime, we might get the 30

The Legion of Super-Heroes isn't the Avengers or the JLA, a group that has to be limited in scope or membership. One of the underlying problems that I'm having with this arc is the fact that it seems quite clear that none of the Academy cadets (some of whom have been at this for DECADES) aren't going to make it into the team, and that the reasons given for not using interesting characters will be unsatisfying and nonsensical, much like the non-reasons for (Yes, I'm going to keep harping on this) Matter-Eater Lad's exit. Power Boy's density powers and Lamprey's electromagnetism are no more impressive than Cos' own powers or Sun Boy's or even Dawnstar's. This arc (and the concept of the Legion Academy) are designed to have characters try out for the LSH, and when most, if not all of them fail, it raises larger issues about the story being told. That said, this book is very nice to look at, thanks to Phil Jiminez and company, and if you're of a mind not to over-think things, it's an enjoy

The coloring is top-notch, the art is strong and even the parts that don't quite work are pretty okay, making for a book that I hope to see selling like hotcakes, presuming that hotcakes still sell well.

If you've been privy to any of my previous reviews of ‘AwA', then you probably know what I'm going to say: I want you to go and read this book. It's truly inspiring how well the creators have been able to adapt the existing characters and personalities of the Archie ouvre into a story of terror and suspense, and there may not be a more creatively synced writer/artist team working in monthly comics today. Afterlife With Archie #5 takes an unexpected turn, but still holds together and deepens the already intriguing elements at play, and looked phenomenal doing it, earning 5 out of 5 stars overall. I don't know where the series goes from here, but I'm frankly dying to find out. (*THAT* one was a pun.)

Puts a whole new face non a decades-old franchise, and does it with style (and menace.)

Unfortunately for the readers, it's a case where we need a bit more show and abit less tell to get things going.

The Young Masters (the quasi-villain counterparts of the Young Avengers) get a moment in the sun (literally a moment, it's two pages long) andGauntlet of Avengers: The Initiative gets one page showing hisreturn to Iraq.

Age Of Ultron #2 gave me issues with plotting, with dialogue, with pacing and with art, and feels not only similar to the recent giant uber-crossovers, but to one of the most iconic story arcs in comic book history, leaving a taste like flat orange soda in my metaphorical mouth. There are some interesting threads here, but 20 percent of the way through the crossover, I'm just not feeling it"

We still don't know when this is, but now that the story has finally started moving (and know that we know that Ultron's end-game involves time-travel) I'm a bit more forgiving this time around. The narrative flow is unusual, but Bendis manages to avoid some of his regular pitfalls in dialogue and plotting, even if there are still problems with both. The heroes utter hopelessness is demonstrated rather than just yackety-yacked about, which helps as well. Still, I don't understand quite how the characters were able to coordinate, although with Emma Frost in Cap's group, it'd be easy to explain it with a few lines of dialogue. Age Of Ultron #4 makes a drastic improvement over previous issues by actually doing something, and demonstrating the live-or-die stakes that the heroes face.

After the first four issues of this book amounted to little more than a decompressed prologue, I was surprised that last issue was as enjoyable as it was. It was still overly talky and full of plot-point-necessary stalling, but it set up something different than what we'd seen in previous world-spanning crossovers. Age Of Ultron #6 is likewise an improvement, with Pacheco and Peterson both delivering work superior to Bryan Hitch's first couple of issues, while Bendis manages to surprise more than once, delivering a decent reading experience, earning 3 out of 5 stars overall. More and more, I'm starting to wonder if this series isn't going reboot part of the Marvel chronology to better support the Marvel NOW! initiative, but either way, the book is improving...

The pacing of this series has been utterly jacked since issue #1, with the first three issues containing a lot of meandering and mystery-building, leading to a pretty phenomenal couple of issues leading into this weird dystopian Avengers Of Future-Past world. There are some nice moments here, especially for Susan Storm, but overall the issue is filled with posturing and talky-talky the leads directly into a massive ultra-battle whose scope is hampered somewhat by a lack of consequences. Still, it's a good looking issue, with Brandon Peterson giving us some interesting alternate takes on characters we know and love, and even with weird pacing, there's some nice science-fiction stuff going on in the issue. Age Of Ultron #8 continues the inconsistency that has made this series such a difficult read, but delivers above-average work in a solid chapter.

Along with a puzzling decision by Wolverine at the end, this issue left a very bad taste in my mouth, and reminds me that Marvel's current publishing strategy is one of volume. We're certain to see miniseries exploring and expanding the alternate futures seen in this issue and previous ones, which will give the depth and background to make the carnage seen at the beginning of this book meaningful. Unfortunately, there's none of that here, which makes even the shocking death of Iron Man seem like a meaningless fillip, while the conversation that sidetracks the second half of the issue feels like unproductive filler.

In short, this "big finale" is nothing more than the setup for another new era, as so many of Marvel's event-comics have been before. There are some intriguing bits in here (like what may or may not happen to the Ultimate Universe, and the appearance of Richard Rider in the same panel as the Guardians of the Galaxy, making me wonder about his actual fate), but mostly it's a mish-mash of half a dozen big ideas that don't have a whole lot of connection to one another or to the reader. If you're interested in EVERYTHING that happens in the Marvel Universe, a big fan of Angela, or someone who likes big swathes of fighty-fighty, this is your book. For me, Age Of Ultron #10 is disappointing, albeit not unexpectedly so, and all its shocking reveals were pimped well ahead of time.

This issue was delightful in tone and dialogue, with the Agents of Atlas achieving a wonderful character balance throughout. Venus is flirty and interesting, Gorilla-Man the sarcastic veteran, Namora serves as the taciturn enforcer, and Marvel Boy and Human Robot counter-balance one another as strangely alien presences, each revolving around secret agent Jimmy Woo, now the head of a universal secret agency. The whole team is entertaining, and Jeff Parker turns in a script that emphasizes the team's unique place in this new world order, even making Norman Osborn seem intimidating... Carlo Pagulyanchimes in with a pretty spectacular art job, and the overall effect of this issue is one of the few bright spots in the dark and gritty sameness of Chocolate Reign, and the whole package is wrapped up in a gorgeous Arthur Adams cover. The backup tale is one of the few times that I've been entertained by Wolverine in recent months (unless you count the story where he diced Jubilee

This is a good book. That's really all there is to it. Two different art teams handle the two different eras, but both are distinctive, and both are very well done. Jeff Parker continues to nail the characterization, with Namora's flip-out sealing a deal with Osborn, while Gorilla-Man is sneaky and snide, Marvel Boy detached and ominous, Venus ever-changing, and The Human Robot completely inscrutable, as always (though it should be noted that the Robot goes out of it's way to stop Namora's rampage, implying something...) Overall, it's a total package, putting new(ish) characters in an old and deep setting, and doing a very good job of some seamless retconning. Agents of Atlas #2 is a gem, earning 4.5 out of5 stars. I'd love to see this book get some mainstream love, because it's the best Dark Reign title thus far.

Which is a surprise that might have worked better had he not been on the cover. Still, it's a good issue overall, though better in the present than the past. The moral ambiguity of passing themselves off as villains is fascinating, and Marvel Boy's telepathic peek in to the minds of Sentry and Green Goblin during their meeting is terrifying, on both counts. The use of Venus as camp counselor is perfect, and M-11 once again proves itselfto be more useful than a hundred Eagle Scouts with Swiss Army knives and the assistance of Phineas, Ferb, all three Brainiac 5's and R2D2... though I may be exaggerated. I was a little disappointed with the pacing of the issue, as the flashbacks seemed to take over much of the book, and having the cover featured character appear only in a cameo on the last page bothered me a bit. Still, the two art teams deliver some pretty pictures, and the dialogue and character moments make the book sing. Agents of Atlas #3 still makes the grade, earni

Criminally underrated, and excellent as always.

Excellent work as always, with plot twists that no one could have predicted.

Jeff Parkerrevels in the cool touches (an issue summary to the tune of the Brady Bunch theme,Jimmy's old Edsel refitted as a flying interdimensional transport) and the art isnicely handled throughout.

I'm fascinated to find that the Agents may have a decent counterpoint to their Venusian/Atlantean/Siren/technological/were-ape awesomeness, and I really want to knowhow Suwan managed to put together her OWN giant cabal of evil (called 'The Great Wall') that rivals her uncle's.

This issue is a fascinating read, with unusual strategy by Woo, and character-based brilliance across the board. This three-issue arc hasn't been a typical fighty-fighty, instead hinging upon Jimmy's unorthodox tactical brilliance and Jade Claw's not-quite-absolute villainy. There has been a lot of noise about AoA getting cancelled, but the AoA/X-Men series has been solicited, as well as the Agents as a backup feature in Incredible Hercules.So, the time has come for Matthew to call upon the Faithful Spoilerites...If you've been uncertain about this book, pick it up. Pick up the X-Men crossover over, if you're an X-Men fan. Pick up Hercules and enjoy TWO wonderful stories.I really think that if even a few of ourresident"wait for the traders" jump in and start following the Agents, we canhelp revive a title truly worthy of adulation (I'm looking at YOU, 'Dark Wolverine.') The art in this issue is by Dan Panosian and Gabriel Hardman, and it's phenomenal throughout, with the robot battles

Two stories, two teams, two interlinking mysteries. One fine comic-reading experience.

Doesn't quite have it's legs yet, but strong art helps to overcome story problems…

It's a new look at the early days of the original Green Lantern, and I approve of much of what's going on,. but the presentation of the narrative doesn't quite hold together, even with excellent art.

Alan's experiences in Arkham Asylum end up being more terrible than any villain he might face, and the build-up to the debut of Red Lantern would have been better if it were a surprise, but it's a well-done comic book regardless.

The "historical figure as action hero" genre is a crowded one, but this is a likeable book with some clever writing and crisp art.

Honestly, I am pretty much this book's target market: The comic geek old enough to remember the rock of previous decades and appreciate a meta comic book take on 'em. Even though the book wears its influences on its sleeve, Alice Cooper #1 pulls off a pretty amazing trick, engaging me as a reader, and making me want to come back next issue

This issue is well drawn by Pat Oliffe, and Rick Remender's story is good, but it's another lame duck incarnation, andyou can feel it in the story.

A fun introductory tale, lots of great interaction, and exellent art make for a good start for the most intriguing Avengers lineup in years…

Excellent character work, great action sequences and exciting art… What else do you need from your Avengers book?

The Waid/Asrar ANAD Avengers has been a fast-paced ride from the beginning, and this issue is no exception, but it doesn't move so fast that it leaves the characters behind, with everyone working together mostly seamlessly and using their strengths to the team's advantage.

Still, even those are minor complaints, and the amount of effort put into the character work for heroes and villains alike shows on the page. I'm a long-term fan of Sam Wilson as a character, and I'm happy to see that he's not being immediately set up for failure in what will probably be a short tenure (I'm saying 24 issues or less) in the red-white-and-blue costume, but instead celebrated and given a mission worthy of a character this cool and this established. All-New Captain America #1 is a solid outing, building off not only the last volume of Captain America, but the entire history of the character, putting Sam Wilson in a new role and a flattering new light, and looking good in the doing.

In short, while I love Milligan and I dig the hell out of Doop, the issue doesn't quite get itself over the hill to the side of must-have. The art is above average most of the issue (although I don't care for any of the various Iceman portrayals we see), and the Doop character fares pretty well in his first solo, though his character doesn't quite make the transition to being on-screen for the whole issue without annoyance. Still, all in all, All New Doop #1 isn't a bad issue, and sets up what could be a very interesting new status quo for our pickle-shaped hero, with some lovely art, earning an above-average 2.5 out of 5 stars overall. It's not perfect, but it's not the disaster that a few of my associates had predicted his first solo comic would be…

The idea of Doop as a character who exists in the background for a reason is a perfectly realized, perfectly MIlligan, perfectly ridiculous premise. The balance of goofy to dramatic is well-executed, and a part of me is actually rooting for the little guy (though a bigger part finds the concept of Kitty kissing Doop revolting.) In short, All-New Doop #2 is a very Doop-y experience, equal parts adorable, disgusting and thought-provoking, with art that is appropriate (if inconsistent), and earns a very irrational 3 out of 5 stars overall. The fact that Doop was instrumental in the biggest twist of the Battle Of The Atom crossover is more interesting than the love story to me, but I'm enjoying both of the intertwining stories so far…

When it comes to the Doop, you're either the kind of person who knows you like weird stuff, and are probably already interested, or you think the whole concept is ludicrous, and have no interest at all. If you're one of the latter, though, you're missing quite a ride. All-New Doop #5 brings the series to a close with a bizarrely touching, visually interesting last chapter, breaking my heart just a little

All in all, All-New Ghost Rider #1 manages an impressive feat: reminding me of the cool stories of the past, while taking a new path, and the art is visually distinctive enough that I'd have enjoyed the issue even if the writing were less capable.

All-New Miracleman Annual #1 is a good'n, with stylish art in both stories, and massively different but very enjoyable stories in both halves of the issue, earning an impressive 4 out of 5 stars overall. If you've never read Miracleman before, there's no better time to start"

I'm still on the fence about this issue, for a lot of reasons. I don't like the use of the She-Hulk name, especially with the original actually in the book, and I'm not entirely sold on Lyra as a character. Her visual, however striking it may be, is just a mashup of She-Hulk and Thundra, and the issue doesn't give us a whole lot to love about her in terms of character, what with the mass destruction, and the yelling and the GLAVIN! Still, it's well written (by Fred Van Lente, one of my new fave-raves) it fits snugly into continuity at some point during the Dark Avengers fiasco, and there's a Norman Osborn appearance with both Venom AND Dark Wolverine that threatens to take my "TOPICAL CAMEO" meter into the red, with the possibility of bursting into flames. There's potential here, and the art is very striking throughout, so it's not as though the issue was a failure, but it's still got a lot of rough eges that I'd like to see sanded down before I can whole-heartedly recommend it

Clever plot, excellent art, good dialogue and character work... An all-around entertaining read.

The overall effect of the issue is an odd one, with some redefined characters experiencing strong character moments in a plot that leaves them feeling a bit at sea, making it a less-than-ideal place to start this story. Still, there's interesting stuff going on, and a mix of characters at play that has a lot of potential to be even weirder than the old ‘Havok/Multiple Man/Strong Guy/Etc' lineup, in all the best ways. Long story short, All-New X-Factor #9 is more about building up the team and status quo than breaking new ground, even if it's a bit wobbly in the doing, earning a more-than-respectable 3 out of 5 stars overall. I'm intrigued enough to give next issue a chance, which means this issue passes the real test of picking up a random comic issue to read…

The biggest problem with this story for me is the coyness about the timelines, with meta-jokes being played out about how long ago 1963 was when the characters can't really have been much further back than the Clinton administration, given their ages. (That's presuming that Cyclops was 15 or 16 at the founding of the X-Men and is over 30 now. If he's supposed to be in his late twenties, we're looking at more turn-of-the-century origins for the All-Old X-Men.) The problem certainly isn't insurmountable, and there's a lot of charm here to cover up any gaps in the timeline, as well as some very smooth art. Kitty and Wolverine playing mentor to the characters who were their senior back in the Claremont/Byrne days works quite well, and all in all, I stayed engaged throughout the book. All-New X-Men #6 is a head-scratcher in some ways, but it's an interesting take on the characters (even if I wonder when they'll press the reset button) earning 4 out of 5 stars overall.

So, we run up against the underlying problem of All-New X-Men: When they run out of people to be shocked that they've come forward in time, then what? The characters aren't on a quest to get back home, and this issue shows their first attempts to bring themselves in line with current X-Men combat training programs, which implies some sort of long-term agenda, but I can't for the life of me tell you what it is. I like some of the concepts here, and the idea of being ostracized for something you haven't done yet is pretty compelling, but we're seven issues in and I just kind of want someone to DO something already. All-New X-Men #7 continues with a compelling premise, but moves awfully slowly and has some troublesome plot moments that cloud the story's success, earning 2.5 out of 5 stars overall. It's not a bad book, but it seems like once we get past "kids from the past in the future," there's no clear direction or goal for these characters...

Even having read the first three chapters of the crossover, there's a large disconnect for me getting into Chapter Six, and the pricing issue really does stick in my craw, especially given that this issue is really more like half an issue. All-New X-Men #17 looks pretty amazing, admittedly, with some nice designs and craft, but not a lot of story to be had, and the lion's share of the character work devoted to an YET ANOTHER alternate future reality in the X-Men's array thereof.

All-Star Batman #13 balances the man with the bat, with Alfred's narration providing a fascinating underreported perspective on the actions of our Dark Knight, with excellent art in both stories and a lot of really strong characterization and motivated action throughout.

Flashes of brilliance, less coherence, but still some funny moments herein…

All in all, it's a slightly confusing issue for me, as I haven't read anything of the new Batwing, I didn't get the issue where Booster arrived in the past, and I haven't read enough Batman to know if the new Gotham is really this bad of a hive of scum and villainy. It's a fine looking issue, and I enjoyed the reading of it, but it's not a book that I expect I'll be raving over in a week or three. Moritat does very good work with the art here, and his horrifying Gotham cityscape is pretty excellent, but the Booster part of the story passed quickly, leaving Hex in a strange predicament that nonethless feels familiar.

The events of Fall of X have made human/mutant relations worse than ever, and Alpha Flight is caught in the middle, trying to help their mutant members without getting shut down by the government.

The creators of this book have managed to do something that a lot of first issues don't: Imbue their creations with character and life, and even thought Judith/Alpha Girl doesn't do a lot in this issue, I was interested enough to want to read more of her story. The fact that the end of the world is played with sardonic humor appeals to me, as does the deceptively simple art style. Alpha Girl #1 is a fun start to what could be a very interesting story, and even with a few disjointed transitions, tells the beginning of a story that I want to hear more of, earning 4 out of 5 stars overall for clear storytelling and striking character design. I'm liking what this seems to want to become, and will be back next issue for more...

Maybe Spider-Man should be married, and maybe he shouldn't, but at least the creative team is doing something with Marvel's flagship character that doesn't make me roll my eyes.

This is a really good issue, with great dialogue, a stellar art job from John Romita, Jr and more subtlety and plot ins and outs than I thought Mark Guggenheim capable of. The story as a whole is suspenseful and nicely done, and the cameos by Iron Fist and Daredevil nicely handled. It's nice to see some of the ongoing plot points starting to wrap up, even though I am unhappy with the revelation that most of the cops featured in the book are corrupt. Overall, it's a very strong issue, with the only weakness being the fact that the weekly frequency makes it really hard to keep up with all the various developments in Peter Parker's life. Amazing Spider-Man #587 earns a very impressive 4.5 out of 5 stars, and I'm looking forward to how this whole thing wraps up this week...

In two words: Brutal Honesty.

The upside of this issue was its retro feel, steeped in continuity, referencing previous Spider-Man/Juggernaut battles, name-checking the kidnapped Madame Web (a plot point of Nothing Can Stop The Juggernaut, as well) and delivering a clever Spider-Man who works things as much with his mind as with his radioactive spider-bitten muscles. The downside is pretty much the same, as all the references take up a lot of time, and much of the issue felt like familiar ground for me.

So, who is Jackpot? Apparently, she's a Nancy Reagan PSA lost in time for a couple of decades. Like I said up top, either she was Mary Jane or she wasn't, and either way there's negatives to her identity. Jackpot's costume, her demeanor, and her overall sauciness led me to really like her, even given the few interactions that I've had with her, and I'm saddened to think that she's probably going to be nothing more than a footnote in Spider-Man's history, a living example that drugs're bad, mmmkay? Still, it's not a terrible issue, with a nice turn by Marc Guggenheim in terms of Betty's characterization, Spider-Man is suitably irreverant and fun, Reed's cameo is well-handled and the art is absolutely amazing throughout the issue. Walter DeClun falls absolutely flat for me, though, a poor man's Kingpin, and Alana's death was weirdly anticlimactic. Amazing Spider-Man Annual #1 earns a better than average 3 out of 5 stars, giving me a new appreciation for Guggenheim's work (I f

There's a lot stuffed into this issue, and even though it's marked as an Original Sin crossover issue, the OS material takes up about four pages in the early stages of the book, with the bulk of our story leaping into getting Cindy Moon out of her jail cell and into Spider-Man's arms. I enjoy the depth that Slott gives to Cindy and her story, but both the rapidity of her introduction and lingering questions about how long she's been locked in Ezekiel's basement make for odd pacing, and the ending is shocking in bad ways as well as good. All in all, Amazing Spider-Man #4 is a pretty good issue overall, as it introduces a character who might be very important in the long run, but does so in a Cliff's Notes manner, and even the fact that I don't care for the art team doesn't torpedo my enjoyment.

The entire premise of this story is one that has a massive meta tongue-in-cheek moment: Look how many alternate Spider-Man stories we've done! Clearly the death toll is not final, and I'm afraid that some of my favorites (Spider-Ham, Spider-Gwen, and even Ultimate Jessica Drew) might buy the farm in this crossover, enough so that I might have to keep reading the entire thing. Amazing Spider-Man #9 finally brings all the players together and kicks off Spider-Verse in style with a well-drawn, engaging issue featuring characters I never thought we'd see again, much less care abou.

Far too many characters in play for everybody to get their moment in, but still a satisfying payoff… But what do we do with 43 Spider-Men?

An impressive new start for our Web-Head, with a fun array of cast-members, some surprises and a ton of coming attractions built-in.

Knee-deep in continuity, with a lot of talky-talky, but solid art throughout. The inverted Cloak & Dagger is a neat visual touch…

Heroic Spidey using all his strength and resources against the one foe who is (literally) always a step ahead. Worth it for the last page cliffhanger...

In short, Slott and Immonen and the creative team have worked really hard to make the balance between Spider-Man story and crossover story work within their framework, but there isn't enough to the main story other than the shock value. Amazing Spider-Man #30 has some excellent art, some wonderful Peter Parker moments, heavy-duty Spidey/Ock rivalry and uses the tone of Secret Empire to good effect but still getting dragged down by it.

An onslaught of big dramatic moments, with art teams sublime and just awful, with one heck of an ending.

Excellent art and a weirdly neat maguffin make for a Spider-Man tale we haven't seen before, albeit one that feels somewhat brief.

Blatant heartstring tugging works better when the story isn't working against itself, and the art is quite bland, not to mention the strange numbering making things confusing.

An old friend is back, a couple more have been dug out of their graves, and Spidey's friends are possessed. That Parker luck is back in full force.

I'm not in love with the art, but the story hooked me pretty well. until the big swerve at the end. I think I'll be back next issue to find out what it all means, though.

A chaotic story with overly-stylized and unclear art, featuring a lot of moving parts crashing into one another. Not my favorite Spider-era.

This issue gives us a focus on Norman Osborn that adds a new wrinkle to his already incredibly complicated life, featuring multiple arts teams and several not-so-successful puzzle box reveals.

This issue excels in its character moments, from the Ben/Peter interaction to May dressing down the doctors to the Beyond Spider-support team, but the art is a little bit sketchy and lacking in detail for my tastes. Even so, it's a interesting change in the status quo.

The art is stellar, the story moves quick, but the editorial staff left a number of problems through, including misspelling the villain's name twice. It's good, though.

Some unclear transitions give the whole issue a hallucinatory quality, but only part of it is a dream, while Gleason's art does the job, but doesn't dazzle. It's a pretty okay issue with some interesting ramifications.

The previous issue ended on TWO big cliffhangers, which this one just leap-frogs and launches into a well-drawn, but hard-to-parse new chapter.

Even with modern Marvel leaning WAAAY too hard on the "Spidey is always a loser" trope and some familiar story points masked as call backs, this issue makes for an interesting read.

When we've been waiting for months for an explanation, the decision to have Amazing Spider-Man #23 dole out only a tiny bit of missing detail is a bothersome one, especially when a clearly traumatized Peter spends the whole issue in fight-or-flight mode making bad decisions, but good art and some interesting details bring things together .

I can't recommend anything about this comic book.

There are a number of issues with this comic, not the least of which come with the art. Boomerang is comically cross-eyed in a panel where he was ostensibly meant to be threatening, and the New Rose has fists like country hams while standing four feet high and measuring about four feet wide. At it's best, the art resembles Todd Nauck, at it's worst, I'm reminded of early 90's Image Comics, books that were high on enthusiasm but low on craft. Moroever, the timing of this issue couldn't be worse, as most of the plotlines from the 'Brand New Day' arc of Spider-Man have been wiped clean as that book moves into it's new phase. The mystery of whether Jackpot is Mary Jane has been answered with a resounding "Nope," and a lot of the appeal of the character was in the 'Was She or Wasn't She?' question. And while the story of Sara Ehret (Rear Haste?) is an interesting one, she was clearly NOT interested in being a superhero in her previous appearance, and it's hard to believe her change of heart

A tale of hard choices that isn't given enough room to really explore them, and falls a bit flat for me.

The idea of a super-family is a great one, as properties like The Incredibles have proven, but tying that to the life and times of Peter Parker makes for a nice update on that formula, and Annie May is a fun new addition to the various and sundry spider-women of Marvel history. Amazing Spider-Man: Renew Your Vows #13 is well-drawn, featuring realistic family interactions and serves as a great jumping-on point for any new readers.

It's an exciting and well-crafted story (though as the final chapter there are some things that really aren't clear unless you have read the first three) but the amazing art is worth the price of admission by itself.

This issue was a non-stop series of comic book in-jokes, slowed only by commentary on the current DC Universe, served with a side of snark. If that's your bag, as it is mine, you should enjoy this series. Writer Giffen is joined by Robert Loren Fleming for the first time in over a decade, and the proud parents bring back the Bug in style. There's more narrative than the last couple of times we've seen Ambush Bug (though his cameo in 52 was pretty awesome) and I suspect that the series may have a narrative through-line, even if I (and Ambush Bug) miss the thought balloons. I suspect it's not an easy series to jump on to, as Giffen's art is more normal than his esoteric Trencher days, or the original A.B. series where he was aping Jose Munoz, but it's still not your average comic pictures. I'll tell you this: I loved it, and I think with an open mind (and Wikipedia) you can love it, too. Ambush Bug: Year None #1 earns an impressive 4 out of 5 stars, and I hope that I've bee

'" HA!) Old-school jokes like Mitsu Bishi (the Japanese version of Ambush Bug) and the Amber Butane Corps return, and more madness from Go-Go Chex, the de facto villain of the book.

"This is a doll, right?" It's cute, occasionally funny, but it's also as scattershot as all hell.

I can only imagine what those of you who aren't aware of how cool the Bug used to be must think of this.

In a word: Piquant.

Long story short, America #2 is a solid, entertaining comic book issue with some great guest-stars, action, adventure, romance and philosophy.

America #6 deserves the highest recommendations, taking its charismatic lead and putting her in different, emotional situations throughout the book, highlighting her loves, her friendships and her family as much as her power and determination, leaving me giddy about my new fave-rave character.

I'm really bummed to see this series go, but at least it's going out with a big cosmic bang.

There's some retconning here, but the action and the drama works well enough to keep it all on track.

All in all, there's nothing wrong with familiar, especially in television (where one of our primary storytellers made his name) and all the various elements play seamlessly as a well-oiled book. For any complications that come from Hitch's previous work, the action sequences are smooth and dynamic, and the overall effect from reading this title is very pleasant. America's Got Powers #1 is a true elevator pitch ("It's like The Hunger Games meets Heroes!"), but hybridizes well enough, and puts all the various elements together with skill, earning 3.5 out of 5 stars overall. I think this title has the potential to transcend the sum of it's parts, and I, for one, hope that it does...

A great many things are revealed in this issue, and it works both as a single issue and as a chapter in the ongoing narrative, while still maintaining some secrets for the 2nd and 3rd acts. The creators don't rage against the indignities of reality television, but they pointedly use all the criticisms of that medium to underline the brutal and dehumanizing conditions of our strange/familiar world. America's Got Powers #2 goes down smooth, playing with tropes but playing fair, and delivering a good reading experience, for 3.5 out of 5 stars overall. There are sci-fi, comics and young adult fiction bits floating around, but it's makes for an interesting goulash at the end...

I'm a little surprised that Ross' celebrity status hasn't gotten this book coverage by the "mainstream" press, and I haven't heard all that much from within the comics industry about it, either (unless you count Twitter feeds.) There's a lot to like in this book, as it's starting to emerge from the shadow of 'Rising Stars' and 'Wildguard' to carve it's own niche in the superhero-as-celebrity subgenre. America's Got Powers #3 is building up steam for what I hope is a slam-bang conclusion, and manages to be both well-written and well-drawn without many people noticing, earning 4 out of 5 stars overall. This is a good book, and I think you should read it...

With a complex and nuanced take on race relations that feels even more relevant in recent weeks, The American Way: Those Above And Those Below #2 feels like a case of perfect timing, but there's also great skill and craft in the story and the art.

This issue sets us off on an intriguing adventures, shows us the characters flaws rather than monologuing about them, gives us a quest (one that is both wacky and touching at the same time) and an enemy to overcome, doing everything that #1 issue is supposed to do.

The best parts of the issue are in the details, and there is a nice tie-in to the Buffy Season 9 comic as Faith considers a job offer working for Kennedy in her security agency (staffed by former slayers, one might recall) but things never quite get up to speed for me. I really appreciate that the big fighty-fighty wasn't the only focus of this last issue, and honestly prefer that we got to see more of the aftermath, but the way this issue breaks down really undermines the seriousness of the threat that we spent two years establishing. It's a good issue, but one that doesn't quite give me the emotional punch that I was looking for, while the decisions of our three lead characters to go their separate way feels less than organic, more like an editorial decision to set up the next season of stories.

There are some problems with this as a stand-alone issue, rather than a random chapter of the ongoing story, but it's not a bad comics, just a slightly confusing one.

Great art plus a slightly puzzing story make for an interesting read overall.

Our story wraps up with a moment that clearly explains why Angela and Thor don't get along, as she gleefully leaps into battle against Dark Elves, reminding us that they're very similar creatures. Having limited experience with Angela as a character (mostly her Image/MacFarlane stuff), I wasn't in any way excited to see this series, finding her origins problematic and her nature boring. Gillen, Jiminez, Bennett and Hans (along with the rest of the team) have changed that for me, putting her in a situation where her nature is kind of fascinating and giving us lovely dialogue and some snappy plotting as well.

Very literary, very touching and rife with metaphor... Sad to see this one go.

Her fellow angely types arrivein time to bust her out, and a bigfight between herheavenly host and his dark minions begins.

I'm not entirely sure what all is in store for Buddy Baker and his costumed antics, but I'm on board for the long haul here, as Animal Man #1 impresses the heck out of me.

The visuals this issue are wild, they are imaginative, but most of all, they are creepy as $&@*. Every page seems to be filled to the gills with the hybrid children of Heironymous Bosch and H.R. Giger, in ways that I haven't seen since the heydey of Vertigo back in the mid-90′s. I've long maintained that the #3 issues of the New 52 are going to be the ones that are make-or-break for these titles, and Animal Man #3 (for all the vague notions that parts of this are retellings) is up to the challenge, earning 3.5 out of 5 stars overall. It's not as strong as the debut issue, but things have to get darker before we get any signs of dawn, and it gets the job done.

The last panel of this issue says it all, with a dejected Animal Man standing alone on the plain where the tree of life that he used to access The Red used to stand. It's a stark and disturbing panel, a perfect dark and depressing end to an issue that sets out to break your heart in the most powerful way possible. As with any story-telling device, the loss of a child can be used terribly and awkwardly, and I hate it when it's haphazardly tossed in as an afterthought. Jeff Lemire uses Cliff's demise organically and powerfully, making it feel more real and horribly true-to-life than any comic death in recent memory.

Erik Larsen is a seasoned veteran, and nothing in this issue is anything less than solid and well-constructed, but it's clearly just housekeeping to conclude the old stuff, and even great layouts can't entirely ameliorate that.

There's a lot going on here that I don't understand, even having read and enjoyed the previous issue, and the overlapping "realities" just don't work. Even so, it's interesting to see Larsen exploring a new art style, even if it's not alway successful.

Fun moments, interesting aliens and a last-page surprise, making for an above-average read.

Fun, weird and engaging, with some great art, and the funniest Iron Man appearance since the first movie.

I'm not sure I like Scott being THIS much of a jerk, but it's a charming issue with some not bad art and a surprise ending. Not bad.

There's a LOT of discussion about God in this book, with a cyborg taunting Marcus about his devout nature, and Aphrodite murdering a woman in cold blood as she is praying, all of which left me cold. The visuals never quite marry with the dialogue (of which there is a LOT), and they never quite get the fluidity that could make this story breath-taking, but I have to admit it's a good-looking issue. Successfully navigating the difficulties of its main character, Aphrodite IX #3 gets a lot of things right, and is visually impressive, and even though it doesn't quite stick the landing, it ends up being a better-than-average reading experience, earning 3 out of 5 stars overall. I have to admit, I liked it a lot better than the original collection, too...

I've been shocked at how good this series is before, mostly because of my grave dislike of the original material (which I didn't read until a year or so ago for the Major Spoilers Podcast trade paperback discussion), but I'm really impressed with the work here. The creators have put together a believable future world, with realistic consequences and a decent set of antagonists, while making our cyborg protagonist relatable and interesting for perhaps the first time (for me, anyway.) In short, Aphrodite IX #11 is a good'n, putting a new spin on the old concepts, with attractive art and some major steps forward for Aphrodite herself.

This issue wraps up the first arc well, gives us drama, superhero moments, and horror, but I'm still of the opinion that the introduction of The Trench played the mystery a little bit too close to the vest. Aquaman and Mera are clearly defined, well-drawn characters (in all senses of the word 'drawn') and their new hometown has been given a personality that works as well. Presuming that the next arc is what the preview makes me think it is, I expect this new Aquaman to hit heights we haven't seen since 'The Atlantis Chronicles.' Aquaman #4 is is a good issue overall, even with the stumbles, clearly focusing Aquaman's latest personality and status quo, earning 4 out of 5 stars overall.

Strong story and plot, art with lots of potential and a new angle on the superhero who deserves much more respect. A very good first issue...

Aside from the fact that Black Manta is a little bit overexposed for my tastes and the inconsistencies in the art, this issue is quite good, bringing 'The Deluge' arc to a close with a bang and reminding readers why Aquaman is cool and unique. Aquaman #15 works on a number of levels, even with the weaknesses of art here and there.

A whole new start for Aquaman, with no memory and a change of scenery. If only his usual bad luck didn't come along.

Aquaman makes a good showing, even without his memories, and the stage is set for the big final chapter.

The back-and-forth in time conceit makes it a little difficult to follow, but it's got some lovely art, Jackson Hyde at his finest, and a cliffhanger that makes me want to come back for the new Aquamen ongoing series.

It's not really a number one issue, but it's got some strong character beats and action sequences, as well as a spectacular art job, so I'd love to see more, even if it's weird to call BOTH heroes Aquaman.

This is fun. The use of "nunja" is itself worth the price of admission, but the thickening plot is well-handled, the art is awesome, and it's clear why our protagonists have teamed up: They need each other to balance out. Character-wise, I find this incarnation of the heroes to be superior to the original (where Archer was kind of annoying, to be honest) and Archer's use of fake curse words to express his frustration is a scream. Archer & Armstrong #3 keeps the streak intact, delivering an entertaining reading experience that's multi-layered and fun, earning 4.5 out of 5 stars overall.

A couple of digressions: Recently, one of my agents (James, if you must know) was reading a "Betty and Veronica Digest" that he bought at the grocery store between calls at work, and I spent a few moments reminiscing with him over how awesome the old-school Archie comics are, with their perfect love triangle, and the simple stories that still pack andramaticpunch. It was a little weird thinking about being a kid and reading these stories, and even weirder to run into them in a work setting. Digression the second: There wasa time in my childhood where one of my most anticipated moments was Saturday mornings when I could watch cartoons, and I clearly remember seeing "The Archies" in that bizarrely primitive Filmation cartoon style, and just loving the characters to death. With that in mind, I guess I shouldn't have been surprised to enjoy this story as much as I did. Archie, Jughead, and his friends are allstill the charactersthat I remember, and the MacGuffin is done in such a cute and

Archie #629 is slam-bang fun that seems to effortlessly leap all the hurdles to an awesome story.

You should absolutely check this out. I'm not sure if Archie does TPB collections, but they really need to make an exception if you don't. The only thing this crossover was missing was a flexidisk with the soundtrack on it, like Billy & The Boingers had that one time. Archie #630 delivers the goods on all fronts, doesn't forget the second-stringers, and puts Kevin Keller in the makeup of The Fox, earning a darn-near perfect 4.5 out of 5 stars overall. You have to love a book like this, and the best part is, you can do it in a totally non-ironic way (seeing as the hipsters are the villains.)

This issue reminds me of the Archie stories of my youth, where everybody has a particular character quirk (Archie's smitten, Ronnie's vain, Juggie's disdainful, Betty is clinically insane) and the punchline comes at the end. Everybody laughs. Curtains. But I haven't read an Archie book this gorgeous since the heydey of Dan DeCarlo, with Gisele's art perfectly complimented by excellent inking and coloring. Archie #636 is a fun, frenetic bon-bon of an issue, setting out to entertain and doing so in fine fashion, earning 4.5 out of 5 stars overall. I wouldn't analyze it too deeply, just enjoy Valerie Brown looking like Kofi Kingston and have a soda...

There's a lot of meta in this issue, but it's the closure that classic Archie deserves…

It's not my cup of tea, but it does skillfully meld a lot of diverse elements around a central mystery, with at least one big surprise and lovely art.

I appreciate that they're trying to create synergy between the various Archie interpretations out there, but this book had so much more life in the first issues of the reboot, making this issue something of a let-down.

It's a big debut for a "new" character and even if the story borders on trying too hard, the art and exquisite coloring make it work.

It's really sort of a shame to see the comics set up to emulate Katy's already-cancelled TV show, but it's a breezy, pleasant journey getting there.

It's a clever little story, but Parent's art dips into the Uncanny Valley on a regular basis, and the inking doesn't help.

In between the meta-jokes, the biting the CW-hand-that-feeds-you and Jughead mocking his TV doppelganger, we get a cute, old-school Archie tale that will probably annoy the hell out of any Riverdale fans who pick it up.

A very tongue-in-cheek take on the 60s heroes, featuring an unusual villain and some intentional subterfuge.

Not really a fan of the ending, but the journey there is okay and the art is a lot of fun.

It's the Archie book I didn't realize that I needed, featuring a dramatic historical tale that keeps the charm of Riverdale intact.

The interpersonal drama reaches a breaking point for four different relationships, a familiar face may be gone for good and Archie finally deals with some of his guilt. All in all, a good read.

In short, this issue serves as a good first chapter, kicking off the big multi-title event, and does so with a well-written well-drawn issue. While the idea of “giant aliens coming to blow $#!+ up” may not be a new one, particularly to long-time Valiant readers, having the conflicts be approachable and lucid helps greatly. Armor Hunters #1 is a decent springboard to bigger things, deftly explaining the main character, introducing and legitimizing the villains, and setting the pieces up for a big ol' summer blockbuster, and that's perfectly okay, earning the book 3 out of 5 star overall. I'm kind of interested to see how this all shakes down for Valiant, and how Venditti will build on Aric's mythology with the introduction of these new foes.

It ends up being an okay issue, and perhaps one that holds the key to the overarching conflict of Armor Wars in the form of the unkillable lady (though I don't know for certain if that's the case without reading more books, I'll wager) and at least delivers some effective horror and battle sequences. Armor Wars " Harbinger #3 isn't exactly what the title promises, but isn't bad by any means, just somewhat expected.

A little faux history, a little family dynamic and some cute character moments make for a nice one-shot story.

All in all, it's a clever, well-written story that fits well within both characters' canonicities, and makes for a good read. The over-the-top nature of Ash's movie adventures makes his easy acceptance of Cassie's arcane trappings, while she proves to be more than a match for his fast-talking mojo. All in all, Army Of Darkness Vs. Hack/Slash #1 hits the spot, delivering a fast, fun, readable story that lets both main characters strut their stuff, earning 4 out 5 stars overall. Bruce Campbell should be proud, wherever he's got to...

Wild concepts and truly beautiful art make up for any shortcomings in the plotting, dragging you along on a wildly inventive ride. A truly beautiful issue...

A really good first issue of what may be my new favorite comic.

Reviewing an x-book is always difficult for me, as I have a fear of getting involved in a story and having it disappear into crossover madness or evaporate (X-Factor, X-Statix, Joss Whedon's run on this very title), leaving me with nothing but Iceman and Rogue. Treating Northstar as a character with history, bringing in his family AND Kyle's, addressing the strangeness of mutants and the attendees' questions about a gay wedding all leads to a book that could have been talky and boring. That bullet was dodged, though I'm not sure that I'll be back to find out what happens next issue with Karma and all, this is an enjoyable enough reading experience. Astonishing X-Men #51 is a commendable act by Marvel, one that I hope leads to a higher profile for Northstar (an under-used and great character in Marvel's vast library), earning 3.5 out of 5 stars overall.

Soule's script is solid, but the real star is ACO's creative layouts and psychic battlescapes.

A nice story that plays off years of history and continuity effectively, with strong, consistent art that works, even if I don't like this version of The Beast.

ProsThe perfect introductory issue.A lovely callback to stories past.ConsThere are no cons.Shut up and read it.

Nobody does it better than the Astro City team, and this issue is why. Debuting an interesting new hero (The Wolf-Spider, seen on the cover, gets a page or two inside, making me want to know what his deal is), taking an unexpected tack on the tropes of the nearly century-old superhero game, and making us CARE about Madella's life turn this issue into a treat, a filet mignon among the bologna sandwich crossover schmaggegis we've all grown tired of. Astro City #2 is the real deal, turning answering phone calls into effective and moving drama, while not skimping on the action and cool art

So, yeah, this issue proves I'm a terrible person full of schadenfreude (for enjoying Ned's turmoil) and jealousy (for my grinding envy of Busiek's towering writing talent), and yet I'm still going to recommend it, and let you decide whether you wanna listen to the advice of a terrible, horrible evil man. The question of whether anyone else could make Astro City look as amazing as Brent Anderson is answered, the question of what drives people to do self-destructive things is examined, and most impressively, a twenty-odd page comic book becomes a portal into another person's life, a story full of emotion and authenticity. Astro City #12 hits the proverbial home run touchdown sports metaphor thingy, with beautiful art and an affecting story, earning a well-deserved 5 out of 5 stars overall. I keep saying this, but if you're not reading this book, you're missing the most consistent monthly book around…

That would be telling. But it's a really wonderful reveal, as the last page of the issue takes place first in chronological order, and makes what comes before that much more unique and special. There's really no sense in futzing around with this: Astro City #13 is another wonderful standalone story, albeit one that stands out even among its brethren, earning 5 out of 5 stars overall. What Busiek, Anderson and company have done with this book is simply extraordinary, and you owe it to yourself to read this one (three or four times, actually.)

I admit it, this issue might have had me a little misty a time or two, and the use of Busiek's old script emphasizes the archetypical nature of the heroes of Astro City, where you can tell a tale that reminds you of Doctor Strange, or Superman, or even (as with last issue) your Grandma while still maintaining cohesive and compelling stories. Astro City #16 hits a dead-solid perfect drive and gives us an ending that's both poignant, unexpected and lovely.

Astro City #18 gets a little bit heavy, if you're really paying attention, but still delivers a little action, a little human drama and a lot of the usual AC quality.

When it comes down to it, there are literally hundreds of superhero titles available every month, but Astro City provides more than just the latest crossover schmageggi or fistfight (not that there's anything wrong with either of those.) The story this issue gives us measured bits of progression, but most of the focus is on the woman inside the armored Quarrel suit, her life, her family, her loves and her drive, and it's a hell of a good read. Astro City #19 shows what you can do when you realize there's more to character than dead parents and a unique suit color, providing excellent story.

Busiek, Anderson, Ross and company have once again opened a new chapter in Astro City's history, touching on classic Silver Age themes and setting up a new run. If only we could have gotten the N-Forcer's story first.

Brent Anderson is on his game this issue, giving Astra a grown-up version of the features established in her previous appearances, and making her seem credible as party-girl, superhero, while maintaining an air of innocence about her at the same time. The story is fun, especially the contrast of Astra's extraordinary life with her boyfriend's increasing disbelief, and the moment where the monsters (led by a dragon who looks remarkably like Fin Fang Foom) burst out of a six-inch deep creek to crown her as their princess. Kurt Busiek's Astro City scripts are wonderful to behold, unfolding naturally, with amazing depth and character work throughout. If I weren't so in love with this series, I'd be jealous of how amazing the writing is... It's a difficult proposition, creating characters and situations that are so engaging that, a decade later, still feel like old friends. Astro City: Astra Special #1 earns a wonderfully complex 4.5 out of 5 stars, losing points only for the conceit that A

In a word: Cathartic.

It's a taut little issue, and the moments where Royal sneaks about the Pyramid compound are claustrophobic and well-handled. Brent Anderson's art is note-perfect, especially in the rare glimpses of superhero activity from the Apollo 11 and the First Family. Throughout the first couple of arcs, Royal is the one we worry about, with stable Charles trying to save his criminal sibling, but here the balance shifts, as we see a competent Royal navigating difficult waters while Charles seems to have popped his cork. The reveal at the end was surprising, and the "inside look" at a Kobra Hydra Pyramid induction process is an eye-opener. Kurt Busiek makes a personal search for closure into a pretty good adventure-type story here, and it's well worth the wait. Astro City: The Dark Age Book III #1 earns a spiffy-keen 5 out of 5 stars, even if I've been drinking the Kool-Aid for years. In a perfect world, this book would be the weekly dose of Busiek...

It's still unclear what Pyramid actuallywants (they seem focused on the superhero team called the Apollo 11) but what is clear is that neither Williams brother is going to be able to survive it alone. Kurt Busiek's script manages to remain personal and focused on the main characters, while giving us a grand scope and the superhero-type stuff that Astro City is known for. Each concept is more outrageous and awesome than the last. Brent Anderson's art is sublime as always, giving each character a completely unique and recognizable face in every scene. Since this series wasn't solicited until the issues were mostly completed (in order to keep it on target for monthly release) we know that the next part of the story will ship on time. This is good, as Astro City issues are always fascinating reads, and always make it to the bottom of the read pile (where I put the good stuff that I want to savor.) This issue is another good one, moving the story along without forgetting that

It's good to get Astro City on a monthly basis again, even if I know that next issue is the last one of this arc... Kurt Busiek manages to tell stories that remind me of classics like the Kree-Skrull War or the Justice League's battles in the Microverse, while being about more than the super-pants dancing around. The story of Charles and Royal's quest for justice has been going on for well over a dozen issues now, and while it's frustrating to see a near-miss like this, it's also impressive to note that the characters' don't feel like they've been spinning their wheels to get here. The return of the Silver Agent (prophesied in his last appearance) was a thread I had almost forgotten about, but it effortlessly tied into events that have been set up throughout this volume. Brent Anderson's art is as quirky as ever, with character designs like Encephalon (a cross between a flying squid and the Metaluna mutant) sharing an unlikely sense of reality and tangibility. It's no secret

Royal's quest for vengeance leads to 3.

It's a whole world of awesome that comics fans should be in on.

It's a whole world of awesome that comics fans should be in on.

This comic makes Rage Cage and Jables throw 4.

Astro City does the nearly unthinkable every month, but this month's achievement is very impressive, taking a retro story and making it feel completely contemporary and exciting without having to resort the universe-building tricks that the Big Two seem to be completely dependent on (see previous and following reviews for what I mean by that.

Its rare to see a story end in a manner this satisfying, especially when the characters are UNSUCCESSFUL in their quest, but Busiek and company pull it off. Astro City The Dark Age Book IV #4 is a fitting ending, earning 5 out of 5 stars overall, and bringing the Williams brother saga to the better of its several possible endings Im also psyched to see that a Silver Agent micro-series will be coming in a month or two to finish HIS story as well. If only we could get a monthly Nexus comic again

Out of one universal crossover into another, but Pak writing either Agents of Atlas team is worth the price of admission, and this issue looks really good.

Here's hoping that Atlas goes 100 issues this time around.

Avengers #1 starts off the new franchise in a good way, earning 3.5 out of 5 stars overall. Its not the lineup I would have gone with, but its a good one nonetheless

Their experiment is interrupted by Wonder Man, who attacks out of nowhere with unexplained fury and vehemence, then explodes into nothingness.

Given that it has a couple of Oh, hell yeah! moments, a Heel Turn for a guy who never really went face and Thor shoving a hammer up Galactus nose, I cant in good conscience let those moments destroy the book for me. Avengers #5 is good, certainly better than 1 through 4, and earns a slowly-coming-together 3.5 out of 5 stars overall.

I like JR Jrs art this issue, which may or may not be attributed to Tom Palmer on inks, but the wheels are spinning in empty space for the most part. Avengers #7 is disappointing across the board, and even the good parts arent enough to make me happy to spend four bucks on a series of what amount to trailers, leading to 1.5 out of 5 stars overal

All in all, Avengers #19 is mostly filler, well-drawn, but essentially same ol', same ol'.

The problem I have is that the issue was identified as an important AvX tie-in, with ramifications about Captain America's declaration of war, and we got literally a quick page and an issue-long flashback. As wonderful as it is to see Simonson's work in a full-length title (Thor was particularly well-served this issue), I have an unpleasant suspicion that we're in for the same thing we got during Secret Invasion: stories that are pretty much inessential background fodder for the big crossover book that I'm not entirely sure I want to read. This issue's attempt to deal with outstanding storylines feels inconsequential, and the use of the Avengers Vs. X-Men material feels forced and mercenary, leaving both parts of the story ill-served. Avengers #25 is neither fish nor fowl, and while it's a good looking book, it really doesn't have anything much to say, earning 1.5 out of 5 stars overall. I hope this isn't a harbinger of how AvX is gonna go...

There is an upside and a downside to giant universal crossovers: Your favorite guy or gal is usually not left out, but with EVERYONE involved, they may not do much more than stand around for reaction shots (as happens with Valkyrie this issue.) The Avengers in this issue pointedly do NOT include several of the characters shown on the cover, and most of them don't have anything to do anyway. Avengers #27 is lovely to look at, but ultimately doesn't do much more than flesh out the background of a comic that came out several weeks ago, leading to a crossover-shell-shocked 2 out of 5 stars overall. Decompression and marketing have left this one signifying very little amongst the sound and fury of AvX.

Still, I'm mostly pleased with this story, as it returns the one founding Avenger with style and a normal sense of humor to the fold, and looks pretty good overall. Avengers #32 sticks the landing, even as it undoes another of Bendis' big changes to the Avengers status quo in preparation for a new creative team in this sandbox.

I suspect that this issue (and it's predecessor) were created with the though that people would jump at the chance to see the team behind Secret War working together again, but Secret War, for all it's faults, had more story behind it than this. At $4.99 for 25 pages of story, I'm already miffed, but $4.99 for the second half of a four-month-old story, one which has already been essentially duplicated in New Avengers, not to mention negated by Fear Itself? Stick a fork in this one, because I'm about done. Avengers Annual #1 is nothing more than another Brian Bendis "Why SHOULD the public trust the heroes?" tale, covering ground which was done to death long before the first half of this story came out, earning a disdainful 1 out of 5 stars overall. If Marvel editorial wants to address the reality of their characters, that's fine, but you can't keep asking the same rhetorical question over and over without either answers or anything new to say about it...

All in all, this reminds me of the Grant Morrison relaunch of the Justice League in the 1990s, where the characters were treated as a pantheon of incredibly powerful types, each with their own strengths, and the focus was on the epic tales and legendary feats. Avengers #1 is at least different, and sometimes that's half the battle, but it's interesting enough to get me really wondering where ithings are going.

I have to be honest: I'm somewhat bugged by the bi-weekly frequency of the book, something that I hope doesn't last too long, but other than that, the issue brings the same thunder that #1 did without losing too much momentum. I'll be interested to see how (if at all) the upcoming moments of Peter Parker and Carol Danvers' books affect this story, and I think that the inclusion of Wolverine feels very much sales-driven, but overall #2 doesn't drop the ball that #1 so ably put into play. Avengers #2 looks good, reads well and has a lot of good character stuff to play with, earning a very nicely done 4 out of 5 stars overall. Assuming this first arc to be six issues long, I think we're precisely where we need to be at this point in the story, and Hickman seems to have a lot of arrows in his storytelling quiver for this big relaunch...

Things in the pacing department are a little bit odd for me, but this issue is still a clear sign that Marvel intends to take their not-a-relaunch seriously in terms of changing things up. There are echoes of The Authority here, yes, as well as a couple of other stories (including Gruenwald's old 'Squadron Supreme' and it's world-changing scope, ironically) but this isn't a carbon-copy of what has come before. A.I.M. comes across as intimidating and competent, the last page reveal promises more intrigue, and the art never dips below remarkable. All in all, Avengers #4 keeps up the streak, delivering another strong issue, albeit one going a bit slower than #1 or #2, but still holding my interest in the Avengers New World Order, earning 4 out of 5 stars overall. It's my favorite of the relaunched Avengers titles, and the only one that has solidly nailed the landing in showing us a whole new world for Earth's Mightiest...

All in all, Avengers #9 comprises a strong middle chapter of an ongoing story, and works both in terms of the art and the story, making for an above-average reading experience and earning 3.5 out of 5 stars overall. Once the whole arc is done, I can see readers going back and tearing these issues apart looking for the clues, hints and interactions that built to the final reveal.

That last page left me with a chill, working perfectly within the scope of the book, but most importantly, giving us a believable reason for the villain of the piece to be there. The characters get their spotlight this time around, with more light shone on the new cloud-cuckoo-lander Captain Universe, as well as Hyperion, Thor and a lovely showcase for Spider-Man's new attitude. Avengers #12 works as a narrative, as well as a single issue, and has lovely art throughout, combining the Avengers we know with something new and different, successfully navigating tough waters to earn 4.5 out of 5 stars overall. If you're wondering what new ground can be sown after 50 years of the same characters, this book is the place for you...

Hickman's Avengers hasn't been getting blockbuster attention, something that I attribute to the publishing frequency of the book, as we're getting something like 3 issues per month. It's a shame, really, because this series is as transformative as his Fantastic Four was on a much larger scale that affects many more characters. Avengers #13 is a great issue, even with my complaints about its frequency, and absolutely deserves it's 4.5 out of 5 stars overall. This is the Avengers book I never knew I always wanted.

Realistically speaking, the Marvel Universe has been preternaturally active over the last ten years or so, with barely any downtime between battle sequences, which does damage my enjoyment of this issue and the big Infinity morass. On the one hand, I like Hickman and what he's doing, on the other hand, it feels like a slightly updated 'Operation: Galactic Storm' or Kree/Skrull War. All in all, though, Avengers #19 manages to overcome some of the weaknesses inherent in the art, but doesn't quite justify itself as more than just a chapter in the big picture story of Infinity.

The Infinity crossover has been pretty well contained (and well-written) within the Avengers titles, and has been successful in setting up meaningful stakes for our team. That said, it's yet another giant crossover shmageggi, which leaves me with the empty fear that nothing that happens here will have any consequence in 3 months when the new crossover takes precedence. Avengers #23 strikes a hard balance between creating a compelling individual issue story and serving as an ongoing chapter of the big Infinity saga, while falling short in terms of art, earning 3 out of 5 stars overall. With a new chapter of the Avengers saga on the horizon, this one promises to have long-term repercussions, but I'm a little bit skeptical, given what happened with Age of Ultron and the rest of the giant crossovers of recent years. World War Hulk, anyone?

I haven't been reading Waid's team books regularly enough to have as much negativity as some on the internet seem to have, but I have to say I found this issue to be a very strong one, especially in terms of Viv's character and the excellent art. Avengers #674 made me happy just by having a number higher than 25 on the cover, but the quality of material inside makes it totally worth the price of admission.

In short, Avengers #675 gets the job done, setting up the big threat, taking time to assemble some characters who need a little screentime and love, and does so with mostly solid art.

The mystery deepens, an Avenger falls and things continue to entertain... Well-done stuff!

As giant crossovers go, this one is doing some new and interesting things, but it feels like so many things are going on that we've lost track of some.

Really impressive world-building and character interactions, using everyone from Quicksilver to the Wasp to Edwin Jarvis to their maximum potential.

Feels a bit sparse, with too much focus on the micro over the macro and one really obvious plot point that annoys me.

The focus shifts from the founders a bit, which helps to open up the book, and the use of Captain Marvel, Hulk and Loki is masterful.

A lot of moving parts and a lot of coming attractions without a whole lot of actual incident. Some of the art is pretty, though.

Aaron manages to capture the tone of the MCU characters without shorting the much more complicated history of the comic Marvel Universe, giving us a lot of character and depth in a whiz-bang adventure yarn (with a pretty shocking final page.)

The commentary is a little too blunt and the metaphors too obvious for my tastes, but it's an intriguing mystery that could go somewhere interesting (with some great design work.)

It's a spotlight for Jennifer Walters and a really effective character study that doesn't skimp on the fighty-fighty, once again making the crossover work to support the ongoing series. Some really good art doesn't hurt, either.

A nice grouping of characters and an effective horror tone make for a compelling first chapter with (you should excuse the expression) one hell of a cliffhanger.

Resolution in more ways than one, respect for all the Ghost Riders extant and impressive art make for a really fun, exciting issue of comics.

It's a remarkable story with excellent art, and even though it's not part of any ongoing storyline, it's as satisfying issue of this book as we've ever gotten.This is really good.

Even though there's only one Avenger, this is one of the most gripping Avengers issue of a very impressive run. The last page reveal alone is a shocker.

It's an issue that surprises on all levels and is clearly setting up for something apocalyptic, and does so with skill, aplomb and a bit of entertaining creativity. I'm really interested in seeing where this goes.

This issue ties into Avengers plot points all the way back to #1 and gives us a glimpse of what happens when gods go bad... It's a pretty good book.

We're nearing the endgame here, and threads from the very beginning of the book are starting to come together, but I like the use of this issue's cast, especially Iron Man's realization that they're fighting the literal devil.

This issue keeps building and building, but it manages to swerve readers as to WHAT it's building to, and that ending is. shocking.

For a mainstream superhero book, Aaron manages to work in a LOT of horror imagery and McGuinness delivers wonderfully dynamic art, even though this issue is mostly a breather between massive crises.

This issue is all about the fighting, but the definition of fighting has many subtle shades, and the combatants are truly entertaining matches.But they better not have killed Howard The Duck.

The battles are fun, but Black Panther/Wolverine dominates the issue a bit too much, and the Thor reveal is hovering in the realm between Genius and Cheese Sandwich. It could go either way, but this issue manages to pull everything together pretty well.

Even with Marvel's slightly spoilery promos, this one is a shocker, and it once again flips the table on Aaron's Avengers, while looking pretty great. But, man, poor Namor.

It seems like a third of the Marvel Universe appears in this issue and a lot of things happen, setting up for the new Avengers era. The only real downside comes with the pricetag that accompanies an issue five times the regular size.

It's an issue that starts with a lovely tribute to George Perez, throws everything into chaos and rings in a whole new Avengers lineup, with the promise of more new members in the future. It's a nice jumping-on point.

It's the first stop on a journey through time and the team of Aaron and Garron and company make a very entertaining issue.

I don't know how they've pulled it off, but this creative team has been building this story for nearly five years, and I'm still psyched to read each issue.

The Avengers finally make it to their destination, but at an unexpected cost, while the youngest Avenger gets a moment in the spotlight to show off what her colleagues have taught her. Very nicely done!

The focus is on Iron Man here, and that's alright, but the MMoE going down this quickly is a bit anticlimactic.

Story threads dating back to 2018's Avengers #1 and before all come together for Mephisto's most audacious plot yet, and the ante is upped for the last time before all hell (literally) breaks loose.

It's always fun when the creators explain the reasoning of their team's membership, and Terminus has never looked better.

The focus on individual team members and their interactions is nice, and Thor is in rare form, but it's another example of a good comic that feels like a chapter rather than a full-issue experience.

The Tribulation Events are still a mystery, but the scale of them is frightening, and things are looking even more horrifying, though the issue features very little in the way of Avengers or avenging.

This book is a goldmine of interesting things, from the Wakandan ambassador to the use of old-school nazi villains to a fortyish Blond Phantom in action.

I find the concept pretty fascinating, even as I wonder who picked the five most fed up Avengers to play den-mother, and this issue proves once again why Avengers Academy is the best Avengers title on the stands right now. Avengers Academy #6 continues their streak with another solid tale, fine art and story, and even a little dinosaur mayhem for Rodrigo, earning 4 out of 5 stars overall. I continue to be pleasantly surprised by this title every month

This issue is kind of a mixed bag for me, in that Mike McKone is officially announced to be out, and Tom Raney in as new artist. Raney's facial expressions are more cartoony than McKone's work, and it's clear that some of the subtle bits of costumery than I liked (Veil's mask, Finesse' weird costume trim things) may be going away, and I was very disappointed to see that the grown-up Academites look pretty much exactly like their teenage selves, save for a goatee, some digital effects, and Mettle giving up his shirt. Christos Gage, as always, manages to give these characters dignity and identity even though their powers, costumes and gimmicks are kind of familiar. There's a few good lines (Striker has a quip about Reptil getting in the cartoons that's pretty meta) and overall, it's a strong issue. The visuals aren't bad, they're just not as good as previous issues of this same book, and the Wasp swerve wasn't telegraphed at all (save for the appearance of Korvac in the solicits), but th

A lot of the character work this issue is very nicely handled, especially the awkward not-quite-sex scene and Finesse's obvious dismay at Julie's new role as Quicksilver's assistant, but the new characters barely get any dialogue and no character, reminding me of the old 'Defenders For A Day' storyline.

All in all, while it's not a bad issue, it's certainly not an essential one. The characters whose title it is are side-tracked and over-whelmed by guest-stars, with core members Stryker and Mettle little more than cameoing in this issue, playing second fiddle to Hercules (which is understandable) and that naked blue girl from Generation Hope (which just flat isn't.) I'd rather have read an issue that was actually ABOUT these characters, rather than just happening around them, and the inappropriateness of the art to the story becomes more obvious with each page. Avengers Academy #31 suffers most in comparison to earlier issues of the title, coming across as talky, while sidelining the characters from the story (which you'll only find by reading AvX) earning a disappointed 2 out of 5 stars overall.

Avengers Academy #39 is ending before it wore out it's welcome, and has outlasted nearly every other artifact of Dark Reign.

As these teens devolve further into savagery, I have to admit that this series is overcoming the weaknesses inherent in the premise (or, to be fair, the weaknesses inherent in the MARKETING of the premise) and delivering some interesting character work. That said, it's slow going, and the pacing this issue isn't the best, focusing a lot on the flashback to make the climax carry enough emotional weight, but it's at least an interesting flashback, with a character whose decisions, however unpleasant, make sense in context. In short, Avengers Arena #9 was better than I expected, with art that works hard to show the characters' descent, and some really nice writing that conveys the volatile and contradictory teenage mind, earning a slightly surprised 3.5 out of 5 stars overall.

Avengers Arena #13 is a remarkably strong character piece, playing on themes of family and paranoia using one of the original Marvel heroes, while clarifying our timelines (the kids have been missing, by the way, for just over three weeks) and squaring away a lot of loose ends.

We finally meet the mysterious Avenger Prime, an army of Mephistos attacks, battle at the dawn of time, but it doesn't feel like a story so much as the cold open. At least it's the open to a story I want to read.

Not everybody makes it home, but the plot avoids the pitfalls of crossover madness to focus on the personal moments and the stakes that feel most consequential. When all is said and done, nearly every Avenger has their moment, and that's really what I came here to see.

An alternate Tony Stark and the prime Ghost Rider are the stars of the show, but the cover promises a little bit more than this first chapter is ready to get to. Still a good read.

After last issue's set-up of Ant-Man Tony Stark and his proto-Avengers, I didn't expect 30 pages of mental and physical torture. This is a hard issue to read.

Great art and a story that starts off strong, introducing more heroes of Earth-818 and an amazing move by Ghost Rider, but the ending really bugs me.

After several issues of deliberate plotting (including one that all torture), Earth-818 is saved by a trio of goddesses who haven't been in the story, save for a single-page splash at the end of issue #1, wrapping up a big story with sudden snap.

Aaron's story keeps raising the universal stakes, striking a balance between intensifying the experience while never *quite* going overboard, with strong art to hold it all together. I like what this book is doing.

It feels petty, but I'm bothered by the fact that the cover is intentionally misleading, but it's a well-crafted comic with strong art and a story that works even as it puts a few too many pieces on the proverbial board.

An already crowded story gets even more crowded and I'm tired just thinking about it. That said, it's a well-drawn issue that surprised me as a reader, so I'll still recommend it.

Both Avengers titles are on slow-burn right now, introducing new characters and variants that are admittedly cool, but somewhat lacking in connective tissue.

This Carol Danvers' life is another example of the creative risks that Aaron and Kuder are willing to take on this book and the slow-burn is still working for me.

While I'm annoyed at the concept of The Pillars, the execution here is top-notch, and the art makes up for a multitude of sins, making us feel for every single alt-Tony we encounter.

There's a little bit of "Middle Chapter Syndrome" going on, but the Avenger Prime reveal hits pretty hard and the interactions of the Avengers army are such fun.

It's hard to show us a battlefield sequence in a comic book, but this issue pulls it off really well, with quite a few truly impressive moments.

So, I was mistaken in thinking last issue was the penultimate part of the story?But somehow, this one feels wedged in awkwardly anyway.

You have to love a good mystery, especially when every twist makes it more incredible, and Ewing's Wasp makes a great protagonist I'm not as hyped about the coloring, but it's a good read.

Another really good story, with an unusual premise leading to some really great comics.

I love the interplay of the two Valkyries, and the mysteries of Victor Shade deepen in fascinating ways, with really well-done art. First rate comics.

A new Avenger takes the stage, Hank Pym gets a new status quo, and the Victor Shade mystery is wrapped up cleverly, with excellent art by Kirk. Well worth your time.

This issue feels to me like a story that Hopeless & Walker really wanted to tell, but knew they had to set up for first. Many readers hated the journey taken in ‘Arena', as well as lamenting the deaths of Darkhawk, that Sentinel kid and ol' what's-her-name, but had they jumped straight to this point, the backlash would have been even stronger. As someone who has been knocking around the Marvel Universe since Tigra was the newest Avenger, this story takes risks in the vein of a Steve Gerber or a Chris Claremont, stretching characters past what we know about them to make them into something new and different. I expect many fans will still be angry about it, but Avengers Undercover #1 is a strong start for an interesting premise, with good art and some great characterization, earning a very impressive 3.5 out of 5 stars overall. I'm in for at least six issues of a book I hadn't intended to read, a testament to how good this one reads.

Young Nastyman uses his power (that telekinesis, Kyle) to killa yak from 200 yards away.

I'm so glad to hear that this isn't the last hurrah of the AoA, and really happy to have read this miniseries, something I can always say when a limited is over.

Avengers Vs. X-Men #1 gets it's point across, starts the crossover off and explains the things that need explaining, and if I take away my worries and reservations about what it's exemplifying, it is crafted well enough to earn 3.5 out of 5 stars overall. There is more here than "And then they fight!", but how much more is still unclear"

My biggest complaint about the issues is specifically that matter of focus, that no matter how good the character confrontations are (and some are quite good, including a Doctor Strange/Magik moment that foreshadows a deeper clash), there's a lack of larger perspective for me. The fight is kept at super-close-up range, save for a few medium shots, and I think that I missed some information that might bridge #1 to #2 by not picking up the appropriate crossover. It's a stronger issue than I expected, though, and it is successful in an individual human level like no crossover since (for me, at least) Infinity Gauntlet. Avengers Vs. X-Men #2 is much more coherent than a book with this many writers has any right to be, and is an effective an issue-long fight scene as I ever recall reading, earning 3.5 out of 5 stars overall.

Things quickly devolve into madness this issue, as the concept of hero vs. hero is clearly the point of it all, and most of the other concerns are merely tangential. The arrival of the Phoenix will hopefully move the plot along (if the solicitations are to be believed, there are still some twists and reversals of fortune to be had in this book) but this issue feels much like treading water to me. Avengers Vs. X-Men #4 is exactly what it says on the package, characters opposing one another, fists flying and a few bits of character here and there, for a decidedly lukewarm 2 out of 5 stars overall.

I honestly expected this book to be all hat and no cattle, but I have to say that I'm surprised. Unlike Civil War, which ended with a thud, the conflict between the X-Men and the Avengers seems to already have a clear victor, leaving me wondering what is going to happen next. The dark undertones of Cyclops and his compadres, combined with the Avengers discord, makes me think that things will be getting interesting in coming days. Avengers Vs. X-Men #6 is impressive work that might herald something entirely new, earning 4.5 out of 5 stars overall. I know it will likely fall apart in the end, but this issue makes the journey seem worth watching...

Avengers Vs. X-Men Round 7 is what wrestling announcer Tazz would call a rocket-bus, hitting me with lots of action, desperate heroes trying desperate gambles, and intrigue, but fails to give me enough grounding or background to fully parse everything that happens.

Avengers Vs. X-Men #8 is a good comic with some flaws, not quite up to the best of this series, but still above average in terms of reading enjoyment.

I've been impressed with the execution of the main Avengers Vs. X-Men title, even as I've had some issues with the overall presentation of the crossover. This issue makes up for the frustrations of last, making epic cosmic fighty-fighty feel personal and approachable, and delivering a great sequence for Spider-Man that reminds me of his turn in Uncanny X-Men #190-191 back in the day. (He died in that issue, you might recall.) Avengers Vs. X-Men #9 is the reading equivalent of a Big Mac, with no big surprises, but a nice finish with a crisp hint of pickle, earning 4 out of 5 stars overall. You can (and I have) complained about the overall Avengers Vs. X-Men crossover, but these individual issues are pretty well-done. I'm kind of excited to see where all this sturm and drang is leading us, though...

This has been a pretty enjoyable crossover event for me, and there have been some very enjoyable moments throughout, including a couple that should have long-term, meaningful effects for the Marvel U. I truly hope that actually happens in the next couple of issues, but the Next Big Thing is already in motion at Marvel, and the solicits make it clear who wins and who loses the big picture game. Still, as someone said, it's the journey, not the destination that matters, and there's still a chance to make this trip unforgettable, if the creators have the guts to pull it off. Avengers Vs. X-Men #10 loses points in the dismount, but manages to pull of a couple of impressive moments, earning a still-impressive 3.5 out of 5 stars overall.

From the beginning, it was clear that Cyclops was on a slippery slope, that somebody had to be consumed by the madness of the Phoenix, and that the battle pretty much couldn't have a twist ending like Civil War did. Now that we're here, it feels a little bit hollow, although a killer issue #12 with some real consequences might change my opinion of things. All in all, Marvel's reveal this morning did a disserve to me, at least, as I spent the issue knowing that Profesor X wouldn't make it, even as the story itself posited him as the last bastion against the Phoenix. Avengers Vs. X-Men #11 was less successful than previous issues, with a long stretch of overly talky part and a telegraphed ending, but still did well enough to earn 3 out of 5 stars overall. Both the art and story work about 75% of the time, for a slightly-above average reading experience...

I'll admit it: I was kind of expecting a train-wreck full of deus ex machina this month. I was wrong, mostly (there's still a little bit of inexplicable 'return-to-status-quo' near the end of the issue, but that development is actually a couple of years overdue by my standards.) All in all, it doesn't disappoint as a single issue story, and doesn't lose the small moments entirely in the din of the giant guy in the hat screaming "CROSSOOOOOVER!!!!!" I agree with those who say that the death of Professor Xavier seemed tacked on to this whole crossover, but comparatively speaking this is an effective ending to the story being told. Avengers Vs. X-Men #12 avoids some of the bigger pitfalls, with some excellent dialogue and good work on art, earning 3.5 out of 5 stars overall.

It is tough to make an issue that feels believable in terms of conflict, but still has sufficient threat-level to challenge a team with a Norse god, a couple of living suns, three alien-ish powerhouses, an immortal soldier, the greatest combatant on Earth, and 40% of the founding New Mutants, but Spencer and Hickman deliver a tale that hits the mark. Artistically, this issue is a lovely affair, with everyone looking great, and even Maria Hill getting some nice dialogue, supporting the example set by her movie counterpart. In short, Avengers World #1 works as a #1, it works as a story, and it showcases a lot of Avengers doing a lot of various Avengery things.

The untold story of Thor's birth and his mothers, which also represents the end of Earth's Mightiest Heroes of the era, leading to the all-important query: Why not tell this story in the pages of Avengers?

The Young Avengers have been trapped in a cycle of big-event crossover madness since about 2007, with Marvel seemingly willing to wait as long as it takes for Heinberg and Cheung regardless of the wait between series (or, indeed, between issues.) In this case, though, I agree with the decision, as the team works terribly well under the creators and less so under other pens. Avengers The Childrens Crusade #4 is a fine comic with wonderful art, and earns a delayed but still quality 4 out of 5 stars overall.

Given the span of time it's taken to get the book this far, we've already seen changes to the lineups of the teams that cross-over, and the appearance of certain characters in the book seems to imply spoilers if it takes place in the future. Likewise, if it takes place in the recent past, then things involving Iron Man, X-Factor, and the lineup of X-Men shown are already problematic. Of course, when the book looks this good, you can forgive all manner of madness, and Jim Cheung's art is completely heart-breaking in its beauty. You actually want to forgive Wanda for her actions, and a sequence where she and Billy are reduced to tears, realizing their familial ties, is utterly wonderful. Even characters like Strong Guy look cooler than they've ever looked before, and the entire issue is cool and smooth like a frozen frappucino. That said, I found myself periodically dragged away from the story by the question of 'WHEN THE HELL IS THIS, ANYWAY?', a sensation that occurred enough to bring

There are rumored to be big plans coming out of Marvel after this series ends, which hopefully means a little more Young Avengers in our future, but the issue ends up not working as either a cohesive story or as a penultimate setup to whatever blowoff we're going to get next time 'round. Avengers: The Children's Crusade #8 spends all the goodwill credit that the first seven issues earned, hits the reader over the head with the writing equivalent of too much eye contact, and leaves me with a disappointed 2 out of 5 stars overall. At least I'm not worried about there being two active Hawkeyes anymore...

A group of characters left adrift by the recent big Avengers relaunch brought together by a killer creative team? What's not to love?

Some shocking moments, and even with their wins, things look bad for Earth's Mightiest Heroes. The art isn't entirely to my liking, but there's a lot of good here.

Still, it's a pretty good issue, overall, tying up old threads while giving us the beginnings of the new storyline and some new mysteries to focus upon (although the question of who Mutant Zero is, as well as what happened to War Machine, and others have yet to be answered.) The art by Steve Uy is good, but is ill-served by some rather agressive pastel computer coloring, especially in the Cloud 9 and 3-D Man's horribly gauche new uniforms. Chris Gage and Dan Slott bring the funny and the touching in equal amounts, and manage to wrap up the first arc of the Inititive with style, in a 3.5 out of 5 star outing that makes me like Iron Man for a while, makes me dislike Ms. Marvel as usual (dressing up a teenage girl in your old uniform? Mid-life crisis much, Colonel Danvers?) and makes me wonder what the next batch of recruits will bring...

As crossovers go, it's quite decent.

Hmm. This issue has a ton of things going on, and it never quite gels into something coherent. Delroy's new importance to the world is undermined by the fact that he keeps having to be pulled out of danger by the Kill Krew, whereas the events at Hammond and in New York are just little behind-the-scenes bits that, once again, tread water with the main plot until Bendis breaks the internet in half again. Dan Slott and Christos Gage give us some interesting dialogue, but the time switches really don't do the story any favors, and the whole "This has been a commercial for War Machine: Director of SHIELD" sequence did little more than irk me. The issue was all over the place, and I'm waiting for Secret Invasion to catch up with itself and GO someplace, already, and the loss of momentum here really hurts this book. The artwork, by Stefano Caselli and Luca Malisan, is actually quite good, especially their technology, and they've finally managed to give 3-D Man a mask that doesn't ma

This was actually a veryeventful issue, with a lot of plot and a lot of character moments for the regulars, but it suffers a bit from having sooo many different angles to cover. The Shadow Initiative. Ant-Man. 3-D Man. The greater war. The Skrulls final weapon. There's a ton of stuff going on here, and not enough space devoted to most of it. Dan Slott and Christos Gage really know how to put a tale together, but it's a case of a little bit too much going on, jumping back and forth in space and time. The art (by Harvey Tolibao, though I'm not sure if it's a fill-in or a new assignment for him) is fair enough, with Mutant Zero's dressing sequence being the best rendered bit, but there's an element of grotesquerie to his art, with bulbous noses, huge sunken eyes, and (in the case of Queen Skrull Spider-Woman) a chest that looks like she's been shot square in the back with a pair of cruise missiles. His faces have the strange scratchy lines that I associate with Leinil

It's a nicely done issue, full of geekery and "Hey, it's THAT GUY!" and makes the crossover blues a bit more palatable.

detracting from the story.

This was actually fine issue for me, with Dan Slott and Christos Gage delivering a nice script, using the image of the Wasp to great effect, and coming up with some horrifying imagery when Trauma shows Tigra her greatest fear (imagine the birth scene from "The Fly" with a litter of green tiger-hybrids.) The art isn't bad either, from a name I don't recognize, Steve Kurth. His faces are occasionally a bit blank, but the overall effect isn't unpleasant. Some might find troubling overtones in Tigra's decision, but bearing in mind that Greer was a product of the Women's Lib movement of the '70's, her status as Pro-Choice rang fine to me. Overall, this issue was chockfull of moments that enriched my Secret Invasion reading experience, and it hopefully sets up Henry Pym as someone to watch in the New World Order. Avengers: The Initiative #20 earns a nicely done 4 out of 5 stars, setting up new storylines well, and giving us some of the human cost of the interstellar conflict that a

Humberto Ramos' art feels oddly unfinished throughout the issue, though, and undermines the story a bit.

Again, good stuff happens, but it's damagedboth by not feeling timely and by not feeling all that important.

That can't be good.

Hope still remains for the future, though.

All in all, it's a strong issue from Christos Gage, and along-overdue return to badassery fromthe legendary Were-Cat.

Johnny's face turn combined with Greer's perfect seasoning of a dish served cold earns3.

The little characters bits work better than the overallstory (Butterball's newfound famebrings a smile)but I'm still finding this book too scattered to be really enjoyable.

In a word: Intriguing.

My New Year's Resolution for this book is a whole new focusunder Norman's successor (whom I suspect is someone that we have known and loved for many moons.

Two words: Action.

The Marvel Universe moves pretty fast, and I'm quite certain that if we don't enjoy these characters quick, they'll disappear for a year or three.

Marvel has gone back to their Secret Invasion tricks of showing us everyone's perspective in the moments leading up to the scene we all know about, and it's not working for me anymore.

It's a good ending to a decent book.

Good thing, too, I hear this Secret Invasion thing is going on.

I'll be honest, I came into this issue expecting a forgettable throw-away movie tie-in, but what I got was a story more in the vein of 'Avengers Forever' than the bloodless in-name-only one-shot I worried it might be. The parallels with AF are certainly intentional, but end up being the weakest part of the issue for me, with the presence of two Thors recalling that stories use of two Hank Pyms, and several other moments that harken back to Busiek's story. Still, it's a story that I enjoyed reading and one that debuted a new favorite character in Danielle 'Captain America' Cage.

On the one hand, it doesn't stand out as something wild or unusual, but on the other, it feels like a well-done Silver Age issue, with the exception of Davis' lithe artwork.

There's a lot more going for this issue than my review of the first one might have you believe, but when you boil it all down, this series (so far, anyway) has been nothing more than Cable putting the smack-down on a couple of Avengers. I can appreciate the impetus that would make you read the book, but I just can't justify the decision to spend 8 bucks (so far) on half-an-issue worth of action and a couple of emotional flashbacks.

The past four issues were big, loud and dumb, as well as overpriced and overdesigned, and this issue was no exception. Hope's secret has been out for a while (I think even Bishop hinted at it), Cable's fate never really seemed to be up in the air, and the Avengers were pretty much spectators with a few tough-guy lines (Red Hulk's John Wayne routine about burning out the poison with fever is especially suspect to me.) Avengers: X-Sanction #4 comes across as a big money-grab with little to redeem it, not upsetting or offending, but simply boring the pants off me for 1 out of 5 stars overall. I had hoped the ending would give us at least some tension for the upcoming AvX crossover, but even that is absent here...

On most other levels, though, I have to say that the issue is a disappointment. Art-wise, nothing stands out as bad or wrong, and the Immonen portion of the book is well-crafted in it's farcical sub-aquatic glories, but I all transitory questions of that value pale to the realization that that the book is 20 pages of battle for $3.99, without even a "Previously" page to put it all in perspective. Sound and fury are both present, and the usual Shakespearian significance sadly applies. AVX: Versus #1 is, at best, a DVD extra, put forward and sold as a full episode in itself, earning both utter dismay and 1 out of 5 stars overall.

Axe Cop is the kind of comic that reminds you how much fun comics used to be, with a stream of consciousness approach worthy of James Joyce and a strict internal logic that never contradicts itself, even as we go from talking hammers to flying police cars to giants menacing the capitol building. Amazingly, there's re-readability here as well, and subsequent trips through the book reveal jokes in the art and twists of plot that might have escaped the first time around. Seldom has a comic book managed to be so perfectly consistent and flat-out entertaining for a full twenty-odd pages, and at $3.50, this issue compares well to the output of the Big Two. Heck, fifty cents more is a small price to pay given that this issue seemingly contains more plot than the every issue of the first volume of New Avengers... Bottom line for me, if you don't like this book, you are an enemy of joy and should probably find a job pulling kitties' tails or poking at orphans all day long. Axe Cop - Bad Guy Ear

In short, Bad Blood #1 is an intriguing concept, an 'elevator pitch' that seems natural without being obvious, with art and coloring that set it apart from your average horror comic.

Featuring a lot of fun tough-guy dialogue, stakes that aren't explained, consequences that don't seem proportional and a cast of thousands, few of which are named.

Against the background of the AIDS crisis, Barbalien tries to find his place on Earth, and it's a really good read.

Really well-rendered with an intricate science-fiction story, this one hooked me and has a great cliffhanger.

Aside from a "flashing her breasts" moment that feels very awkward, this issue works pretty well, and the closing moments are quite touching.

Dark, moody and disturbing, showing off the Hill's horror roots and featuring some excellent art.

Killer art and a truly creepy story combine for an excellent reading experience. More of this, please.

This book has really sucked me in, and I can't wait to see the final issue" Hopefully, it has a happier ending than this one.

In short, Basketful of Heads #7 is the perfect capper to a really well-done series, wrapping up everything perfectly, even while it introduces new twists into the events of the series.

Not quite as ebullient as Bizarro, but still has it's moments, with delightfully goofy art.

It's an issue that works best as a chapter of the larger story, but works as a stand-alone on the strength of the main characters delusion.

The wrap-up feels a bit abrupt, but you have to love a happy ending.

There has been much discussion about whether or not the DC Relaunch for September is going to be successful, but I have to say I'm pleasantly surprised at how many people are asking what will happen to Miss Brown after things shift about. Reading this issue, it's easy to see why, as writer Bryan Q. Miller (not to be confused with Arthur Q. Bryant, the original voice of Elmer Fudd) balances Stephanie very well on the precipice between novice and trusted member of the Bat-family. She's clearly learning her craft, making mistakes and ad libbing, but she doesn't suffer from the stupiditis that always seems to claim teen heroes in an attempt to be more "realistic." Stephanie shows wisdom, wit, and even patience in this issue, all the while feeling authentic as a contemporary young woman. The art, by Pere Perez, is quite good as well, balancing a Phil Jiminez quality (a high compliment from me) with a lean-ness that makes both Squire and Batgirl look their supposed ages and heroic at the sam

Overall, Batgirl #2 is an improvement on #1 (which, since I didn't review it, I should clarify was about a 3 star book for me) and makes me less worried about the larger character arc for Barbara Gordon.

There are a lot of lovely parts of this issue, and the back story has a lot of emotional resonance, especially when the Talon finally explains her actions to Barbara, but overall there's just a bit too much mystery for my taste. Batgirl looks phenomenal, as Ardian Syaf delivers some excellent sequences throughout the issue, but things never quite come together as beautifully as the opening would have made me hope it could. Batgirl #9 is a good one, though, don't get me wrong, and it handles the crossover well (and ends with an effective gut-punch) earning 3.5 out of 5 stars overall. It has done what a good crossover needs to do, as well, sending me out to seek the rest of the Night Of The Owls and see what's up in Gotham...

The first half of the issue is quite good, with some nice tension between the lead and the villain, some real worry for Batgirl's well-being, and the reveal of Knightfall's true identity. Batwoman's arrival works okay, but things are immediately awkward, as Batgirl herself says that Knightfall will easily buy her way out of prison. There's a couple of weird moments, and a very well-written climax undermined by sub-par art, leaving me with a mixed impression of the comic in question. Batgirl #13 makes me wonder if the artist had to rush the end a bit, but has some nice character moments for Barbara Gordon, even if they're undermined by deceptive trade dress on the cover, earning 3 out of 5 stars overall. I'm interested to see what happens with the promised Joker/Batgirl confrontations, though, and this is still my favorite of DC's monthly Bat-titles...

In short, this is a strong issue of a good title, and everyone who lamented and/or cheered at the annoucement of Gail's firing and re-hiring on this book should definitely pick up a copy to show DC just what kind of quality they've got on their hands. Batgirl #16 works as drama, as part of a crossover, as a single-issue, and features the amazing sight of hand-to-hand combat with a chainsaw involved, earning 4 out of 5 stars overall. If I could somehow guarantee that the rest of the crossover is of this quality, I'd even be interested in perusing the mainstream Batman titles...

Batgirl #19 is a good one, successfully navigating what could have been an awkward PSA moment in less-skilled hands, transitioning seamlessly into a satisfying confrontation that was much more than just the fighty-fighty.

Short form? This is a good'n. Visually, the multiple pencillers and inkers deliver an issue that's consistent, well-rendered, and dramatic, especially in the design of the new villain and her partner. Most importantly, Gail Simone manages to follow-up the big media reveal last issue with the best overall package they've delivered since before 'Death Of The Family.' Batgirl #20 hits the spot, and scares the heck outta me.

This issue is one of the strongest individual Batgirl stories of this run, finally getting away from Gotham City's incessant crossovers and weaker artists to deliver a solid hit on both the art and story fronts. The pacing of previous issues of this book has been pretty leisurely, which has led to me misreading slowly building tension as a lack of drama, something for which I feel foolish now. Batgirl #23 is another emotional heart-breaker, and makes me want to read the next issue immediately, the sign of a strong book, earning 3.5 out of 5 stars overall.

I think my favorite part of the issue comes in a brief cellphone conversation that Ragdoll has with an unknown party who is clearly Vandal Savage, but all of his dialogue is wonderful, leaving me wanting to take a shower in most cases. Alysia getting a romance is nice, as are the complications in Barbara's thing with Ricky, but DC's editorial schedule has led to this issue feeling a bit odd. Ricky's shooting took place at least six months ago, real-time, which makes it difficult to put all the pieces in place this time around, but the excellence of the artwork makes up for a number of those oddities. Batgirl #31 gets the job done with charisma, but still has a few rough edges here and there, with well-crafted dialogue and wonderful art, shaking down for 3.5 out of 5 stars overall. Here's hoping a full-scale reunion/revival of the Secret Six is in the cards soon…

All in all, this issue serves not just as a wrap-up for this run of Batgirl, but as a coda for the no-longer-in-continuity Birds of Prey series before Barry Allen rebooted the universe in 2011, and is a satisfying way to end a run. Indeed, it's a good thing that they announced the new costume and premise early, as this issue could serve as a perfect jumping-off point for long-time readers, making a satisfying "last issue." Batgirl #34 is the end of an era, but goes out in style, looking good and giving the character closure and several amazing moments for the main character, earning 4 out of 5 stars overall. I'm going to miss Gail on this book, but at least they went out on a high note"

The first issue of this creative team on Batgirl featured a character who spoke in #hashtags, and the focus on social media and the youth culture of today already feels dated. This book feels like it's trying too hard to show us a young, edgy and topical Batgirl, but what comes out is the equivalent of Bob Haney's 'outtasite, groovy' 60s Teen Titans lingo. The art is very impressive, though, especially the moment where fake Batgirl makes her gold-spangled entrance, proving Babs Tarr to be a talented artist whose skills are well beyond the scripts being delivered. Batgirl #37 is a quandary, a muddled mess of story with really problematic elements married to art that I like a great deal,.

Batgirl in her element, with her friends weaving in and out of her life, feels very natural, and the art is charismatic and fun. A solid issue!

A fascinating read technically, with interesting implications and what may end up being a new status quo for Batgirl...

All in all, Batgirl Annual #2 is a pretty solid issue, making Poison Ivy a character that I care about and relate to, and even a few wobbles in the art don't completely undo the spell woven by Simone's writing.

If you need more motivation, I'll give you one last push: This is Gail's last Batgirl tale (at least for a while) and it serves as a perfect wrap-up for all the adventures that have come before, as well as acknowledging the ghosts of stories lost in the purge of 2011. Batgirl: Futures End #1 is that wonderful synthesis of concept, story and art that comes along only once in a while, and the ending is one that is both foreshadowed and surprising, with delightful new and new/old characters in play.

In short, this is fun, frenetic, cool Batgirl at her best, and while I'm nervous of how often her supporting cast has changed, this issue is exciting and engaging. Batgirl #2 features our hero out of her element but still awesome, with clean, exciting art.

In short, Batgirl #10 is a great middle-of-arc issue that gives you all the information you need to understand what's going on without overt infodumps, manages to deliver drama and suspense without a lot of wedged-in fighty-fighty or melodramatic nonsense, and also looks lovely.

It's a dark time for Batgirl, but the issue delivers on action, emotion and some really impressive animal heads.

The final page is a huge bummer for me, but the basics here are solid: Batgirl action, hero angst, a little Jason Bard romance and some nuance, slightly undermined by confusing storytelling moments and the crossover hook.

I enjoy both of the stories in this issue, and I really like the thematic carry-over of friendship (a new friend in Supergirl, an established one in Alysia) through the issue. Batgirl is very resourceful, smart and heroic throughout, which is a double-win.

Strangely, it can be hard to do street-level super-tales in the mainstream shared comics universes, but this book nails the tone and also gives us some lovely interplay between the three heroes. Black Canary is low-key hilarious and witty, Batgirl smart and determined, and Huntress driven and mostly hostile, making for a good balance between the three main characters.

Visually, Tony Daniel isn't the best storyteller around, but he gets the job done, and while the coloring is somewhat muddy in the middle, the high contrast red and black ending of the book and the Batman's-eye-view as he collapses are very well done. It's a strong issue, and I wasn't lost by it, even having only a vague idea of what went on before. Batman #680 ranks a very impressive probably-Stephen-infuriating 4 out of 5 stars, because it made me care about a character I'm not emotionally invested in anymore, and made me remember what's really fun about comics...

All in all, it's a decent chunk of story for 99 cents, and delivers on it's promise of a new kind of comic experience. While I'm not ready to trade in all my comics for an iPad, it's an interesting experience that doesn't try to transfer existing pages into a Frankenstein's "motion comic" as Marvel tried to do a few years ago. Batman '66 #1 delivers on the promise of a meaningful continuation of the 60s camp television show, as well as the promise of something entirely new in comic terms.

An interesting start. Thankfully, the weekly digital format means I'll get more of the story sooner, rather than later...

I am a bit puzzled as to why Carmel's likeness doesn't appear in the issue while a passable Van Johnson and a so/so Bruce Lee do, but thaz's a very minor quibble in an otherwise very entertaining issue. Smith and Garman work together seamlessly, showing off strong story-telling chops and a real facility for this version of the Batman character, while keeping the guest-starring duo awesome in their own right. Batman '66 Meets The Green Hornet #1 is a strong story, with excellent art that works not only a love-letter to Bill Dozier's TV output, but as a first chapter of an ongoing tale and as a Batman story, earning 4 out of 5 stars overall.

With clever dialogue, a perfect handle on the meter and tone of Adam West's Batman voice (RIP, sir), and the dynamic art and colors of the Mike/Laura team, this issue is off-the-charts fun for me. There's even a board-game built in that is chockfull of references and clever bits, including cameos by Mxyptlk and J'onn J'onnzz, making Batman '66 Meets The Legion Of Super-Heroes #1 a home run for me.

It is a short story, and mostly setup, but it's also a weekly release schedule and a 99 cent price point, so I can't complain too much. The story and art are both immediately impressive, and I love the idea of these franchises crossing over.

A perfect final chapter, providing a legacy that the 1966 TV show never got while playing with the 70s and the DC Universe alike, and doing so joyfully and skillfully.

This whole issue is simply beautiful to look at, and Wein makes the tongue-in-cheek tone work for him, even with a character as tragic and unusual as Two-Face is, and I would recommend this issue to anyone and everyone at $3.99. I'd recommend it to most everyone at $4.99, and even hard-sell at $5.99, but at $9.99 this book is priced way outside of the range of the payback. In short, Batman '66: The Lost Episode #1 is for the hardcore fans of its core constituencies, a lovely-crafted collectible for those who already love the creators or the setting within.

For years, we've heard rumors of Sam Hamm's plans for Billy Dee Williams' Harvey Dent, a Robin played by Marlon Wayans and the Batman II that never was. I don't know if this is that, but it's a good read with some great art.

A really strong one-shot story, with a young Batman in action, impressive art and REALLY stunning colors.

A peculiar day-in-the-life issue with some execution flaws that nonetheless makes for an engaging read.

I get what the creators were going for, but it didn't really come together for me, as a reader.

Batman is pushed to his breaking point and The Flash has had enough of his crap. It's at least more successful in addressing trauma than the series it's crossing over with.

It's an engaging story of the early days of Catwoman that fills in blanks on The Designer and does it all with aplomb and strong art. Well worth the read.

A murder mystery with an unexpected victim and a case of mistaken identity makes for a well-crafted, engaging story, especially when Batman and Deathstroke's children get involved.

It's an issue full of fabulous art and really strong dramatic moments well worth your attention.Looks like I'm gonna be reading Batman for a while.

Batman faces a whole new Gotham while his protegees deal with his absence, but it feels like we're breaking new Bat-ground for the first time in a while.

Zdarsky references 'Batman: Year One', 'The Killing Joke', 'Arkham Asylum', and more in a tale that seems designed to explain the unexplainable. Despite my reservations, it's working, and the ending is a gut-punch.

The structure of this issue is almost incomprehensible, and after multiple readings, I'm still unclear as to what happened when. That said, it's a really good looking comic book that makes me think I don't need to read the rest of the series.

A rock-solid first issue story, with lovely art and a good balance of tension to fun…

In short, this book is a winner all around, even overcoming the middle-of-the-miniseries blues and delivering an action-packed, ninja-kicking adventures of some of our favorite cartoon stars. Now that DC has realized that there's no shame in admitting that more than one take on their iconic characters can be valid at once, they've tapped into some wonderful stories that otherwise might never be told.

I'm honestly impressed with how effortlessly this reinvents one of the oldest heroes around.

The entire first arc of this series has had an extremely unsavory tone (owed partly to Quitely's art, and partly to Morrison possibly being bonkers) and this whole issue maintains that tone throughout. The setup of Sasha as an ongoing character is nicely done, and Damien's realization that perhaps Dick Grayson isn't useless after all is a subtle character moment for a character who doesn't really do that much subtle. I like the art, I like the overall storry here, especially the ease with which Jim Gordon seems to realize that this isn't his usual Bat-buddy. The new villains are creepy, and the setup for something even more sinister is achieved without telegraphing the relevant plot points. I don't have Stephen's love/hate relationship with Morrison as gonzo-storyteller, and I have found this new Dark Knight to be extremely entertaining, new and different. It's a reversal of the old dynamics, but it's working and working well. Batman and Robin #3 earns an unexpected 3.5 out of 5 stars,

It's interesting to see Grant Morrison's unorthodox writing style with a more mainstream artist, and oddly, the effect (as with Tony Daniel in the 'RIP' arc) is more unsettling than having the stylized renditions of Quitely or Richard Case. Having the characters and the city look so very much like your average bat-book, with the outre concepts that G Mo brings to the table makes the madness that is Batman even more entertaining. I'm not usually a bat-reader, but the first arc of this book was a high-speed thrill-ride, with an arc that was short and to the point rather than drawn out for potential trade paperbacking down the line. This issue joyfully kicks off a new arc, and it's only real downfall is that I, at least, can't think of anyone else for the Red Hood to be other than Jason Todd. If there were other characters built up, it could be a mystery, whereas this seems more fait accompli to me. Dick and Damien's jostling for control of their relationship seems to have simmered down a

Either way, the way they handle the resurrection will be what defines whether I stay on the title or not.

In short, this issue does good work with the concept of a Batman shattered by loss. What undermines the issue comes from the shortcomings of the creative team, with Pat Gleason's Batman looking almost Judge-Dredd-like and grotesque throughout the issue. The sequences of him wrestling a monstrous tank-like Batmobile work in a bombastic way, but the emotional sequences fail under his pen. Likewise, Tomasi does a good job with the story here, but deciding that this should be an entirely silent issue puts additional strain on a plot that's pretty basic. All in all, though, Batman and Robin #18 acquits itself pretty well, even with the difficulty in grafting emotions onto the ultra-grim-and-gritty New 52 Batman.

Batman And Robin #19 isn't a bad issue, but it neither delivers the moment teased by the cover, nor enough emotional resonance to keep the man character from feeling dangerously insane.

While I didn't feel like they quite nailed the tone that they wanted in the courtroom scenes, it was a bit shocking to hear Harvey calling Batman “Bruce”, and the ending (which is certainly spoiled half a dozen places already) does seem to make this an important story in the Two-Face canon, I don't think everything is entirely as it seems. Remember, this is set in a world where the Joker had his face ripped off in issue #1, only to return a stronger threat than ever. Batman And Two-Face #28 is loud where it could be subtle, gruesome where it could be artistic, and chockfull of bathos, but still hits enough strong notes to earn 3 out of 5 stars overall. Tomasi is a good writer, exploring interesting themes, but his volume seems to be stuck on eleven, which damages the drama he's trying to establish…Share this:TwitterFacebookGoogleRedditTumblrEmailMoreLinkedInStumbleUponPrintDiggPinterest

As a long-time fan of 'The Brave And The Bold', I'm glad that DC has a Batman team-up book in the New 52, even if it seems to be cycling through existing Batman supporting characters, and this issue tells a clever tale with some nice characterization. Unfortunately, aside from some closure for Batman and Frankenstein (and some admittedly wonderful dry wit from the monster himself), not a whole lot happens in the issue. I like seeing Batman trying to make peace rather than bulling through everyone else because he's the smartest man in the room, and I get that the creators are trying to ratchet up the tension for whatever is going to happen with the Al Ghul family, but all in all, it feels a bit slight. Batman And Frankenstein #31 makes for some nice dialogue and interaction, and has nice art, but doesn't feel like a high-stakes issue or even an important piece of the long-ongoing tale.

Duke and Cassandra get the worst of this 'Year Of The Villain' crossover, an issue that seeks the definitive answer for "Why would there be Outsiders?" and doesn't quite succeed OR fail.

With the problems of the art and a general sense of "in-between" permeating the story, Batman and the Outsiders #12 is a real mixed bag of an issue, with a lot of strong character moments in a story that is weirdly paced and art that vacillates from "Pretty Okay" to "Just No".

The end of a story designed to give The Signal his own place in Gotham City, and it's mostly successful in doing so.

In short, it's not a disappointing issue, but it's one that just didn't quite fully engage me as a reader. Perhaps a hardcore fan from the beginning will have a stronger response, as Batman Beyond #12 makes for a better-than-average read with some intriguing plot pieces in play.

It's remarkable enough that I was quickly engrossed in this book without having read previous issues, but I didn't even mind the lack of the title character. More Batwoman Beyond, please!

All in all, it's a good first issue and a good redebut for Terry as Batman. Batman Beyond: Rebirth #1 looks really good and is consistent enough in the scripting to make me want to know more about Terry's adventures in Da Future.

Nobody has much character, interactions are awkward and the art is awkward and elongated, making for a difficult, confounding read.

Garish, bizarre art combine with unclear scripting to make for a confusing read, and in a book that already has a dozen characters in circulation, we're now getting more players on the scorecard. I'm disappointed.

With so many moving parts, this team needs a strong central focus point, but Ghost-Maker comes across as arrogant, ill-informed, and needlessly abusive to his colleagues, combining with a 'too much, too fast' problem in plotting for a confusing whole.

Every issue of Batman Incorporated shows what an unfit leader Ghost-Maker is, but it doesn't seem to be intentional, and the multiple art teams combined with muddy coloring makes it difficult to appreciate any of the creative teams.