There's so much going right in this issue that the small and subtle imperfections are completely eclipsed by the sheer enjoyment fans of the series will experience with this issue. By the end, anyone who was on the fence about Season 10 should be convinced that it's going to be one hell of a ride. Between the humor that comes from the strong cast of characters, to Gage's on-point writing, to Isaacs' superb art, and Allie's experience in keeping true to the Buffy mythos while still allowing creative teams to be unique, this entire team promises what looks to be another fantastic addition to the series.

Listen up, comic book fans, especially the ones like me who have been demanding for more diversity in our medium. Sensation Comics #25 is a perfect example of everything Wonder Woman is about: empowering other women, protecting everyone she can, and inspiring them to be better than they ever thought possible

What other comic book is talking about these issues? What other comic book is addressing them and trying to show how it's not okay? This is the reason why Sensation Comics is important. This is the best comics has to offer " when comics can take something going on in the world today and inject some truth and generate conversation, it's incredible and amazing. The entire creative team has done an amazing job that makes this digital release stand head and shoulders above its competition.

Despite the fact that the impetus for the story " the origin of this Superman-like figure " is a bit too convenient, the issue still stands as one of the best one-shot issues in a while.

In comparison to the entire story, though, these complaints remain minimal and don't negatively impact the story much. It's clear that Snyder, Albuquerque, and the entire creative team poured their hearts into the work " and it shows. For fans of the past series, it doesn't look like this will disappoint; for anyone interested in Snyder's work, this is a great jumping-on point. Do yourself a favor and give it a try, because it looks like it's going to be worth it.

While the idea of a silent comic doesn't feel as fresh as it could be in this issue, Fletcher and Stewart pull it off amazingly well and have to thank Bengal for the majority of their success. They should be proud of their direct story that immediately draws us in and keeps us hooked until the very end, but silent issues heavily depend on the success of the artist. In this case, Bengal's art outshone all the other aspects of the book and made it one of the most enjoyable of last week.

Li'l Gotham remains completely different from The New 52, and remains one of its strongest traits. It gives readers who miss characters like Colin and Talia an opportunity to experience them once more, and, because Nguyen and Fridolfs keep their fans so close in mind when composing these issues, the authors make Li'l Gotham one of the best books on the market.

Between the emotional growth Superboy undergoes and the great art seen throughout the issue, Convergence: Superboy #2 becomes one of the best Convergence books so far.

If there was one issue of Convergence tie-ins so far that captures how to tell a great, self-contained story within an event like Convergence, this would be it.

Fraggle Rock #1 has a slow start, but this is a great first issue to the new series that will leave readers excited for more.

Brian Buccellato may not have been the original architect of the Injustice: Gods Among Us comic book, but he can certainly deliver the emotional punches necessary to make the big moments meaningful.

It'll be surprising if you know exactly what to feel at this ending. Because there's so much going on and so much to think about, it's hard to come away with one distinct feeling about what happened other than deciding it was a good story. There's a great interaction between Tynion and Donovan at the end as they debrief from creating this incredible story that will - hopefully - help readers debrief and decompress as well. Memetic delivered in three issues what a lot of ongoing series fail to do in its entire run: a complete story that makes you think, with diverse, three-dimensional characters and a plot that makes it easy for us to become invested in said characters. When it comes to the end of the world, I guess that's all we can ever ask for.

Midnighter is a comic for everyone - or at least, everyone who can stomach the extreme violence the titular character doles out. Regardless of where you stand on his personal life, Orlando gives you a story that anyone can feel invested in: he shows us glimpses of who Midnighter is and what motivates him and then gives the character a clear objective to attain in the first arc. Between the writing and the incredible artwork, this is a series you won't want to miss.

If Mighty Morphin Power Rangers shows us nothing else, it's that there's room for superhero stories that aren't bogged down with being too dark or gritty. At its heart, the story of the Power Rangers"in both the television series and in this comic book"is one of teamwork and hope. With Higgins framing the series' starting point with Tommy looking to earn redemption and acceptance from when he was under Rita's thrall, those themes become all too important. Higgins sets the series up nicely to start in March in the final pages of this zero issue, revealing a monster that's rumored to be the main villain of the reboot film. If this first issue is any indication, the rest of the series will do the source material justice.

Ms. Marvel, none the less, remains a stronger-than-average opening issue, with many possibilities. Wilson has given herself room to go in a variety of different directions with the piece, and as long as she keeps the story centered on Kamala"the girl we know we've all been like at one time or another"then she shouldn't have a problem keeping a dedicated readership. After all, who doesn't want to be awesome and butt-kicking and less complicated?

All in all, Ms. Marvel would have been hard-pressed to find a better ending before Secret Wars than the one the creative team presents.

These small things add up to create a synergy that simply makes this comic stand out. Combining elements of horror, mystery, and suspense, Nailbiter is a story for anyone looking to get down and dirty with something eerie, creepy, sinister, or all of the above. If you can't get behind these characters, become invested in the plot, or wonder what's going to happen next as Finch and Edward "the Nailbiter" Warren come face to face, Nailbiter will " at the very least " make you think twice before you nibble on those cuticles.

Regardless of those (very) small hiccups, Original Sin #0 has made a Marvel reader out of me. Their focus on the human aspect of characters, having the reader fully understand them and their motivations, will inevitably be their greatest strength going forward and it's up to the creative teams to capitalize on that. This issue sets forth a precedence of quality that will hopefully be met with each subsequent issue. For the meantime, however, Waid and the rest of the creative team deserves to give themselves a generous pat on the back " they've definitely earned it.

One of the major things going for Star Wars right now is the nostalgic kick it's still riding, and it works. Aaron and the entire creative team have managed to make it their own and a very enjoyable read.

Star Wars #5 is one of the best issues yet, especially for Leia Organa and Han, whose arguments are made that much better knowing that they'll one day get together.

Kanan's journey is far from over; Weisman makes that clear enough. Despite only being two issues in, Kanan: The Last Padawan easily asserts itself as one of the best Star Wars books Marvel's doing and one of the best Star Wars books period. The emotional gravitas we have for Kanan is profound - I'm sure I speak for all of us when I say that we want nothing more than to have him be safe from the Empire's clutches. If these past two issues are any indication, though, there's still a lot more strife in Kanan's future before he matures to the character we've come to know in Star Wars: Rebels.

By the end of this first issue, you'll be behind these characters like they're friends of your own. You'll know enough about them to accept them as the protagonists and yearn to learn more about why they are the way they are. It's clear from Tynion's writing that, although the woods are a central aspect of the story, the real story will be the journey these teenagers take, how it changes and tests them. He's set himself up to tell an amazing story " let's hope it doesn't get lost in the woods.

If you're not reading The Woods right now, I honestly wouldn't be able to figure out why. This particular issue has all the elements of great storytelling: fleshed out characters whose characteristics act as both strengths and weaknesses, naturally developed motivations and actions, and a monumental main plot that builds momentum with each and every issue.

These are the kinds of small nuances that push The Woods from a pretty good comic to a pretty great comic, even with an issue that feels more expository than anything else. It's these characters that have and continue to keep us interested in the story; it's Tynion's structure and narrative elements that keep us fascinated with the plot; and it's Dialynas and Gonzalez that beautifully render this world to help us see clearly Tynion's vision and convinces us to stay. It helps that there's a budding romance between Isaac and Ben, too, but it's clear that we're headed towards a confrontation not all these kids will make it out of alive. Let's hope they last the night.

Much of The Woods #13 is buildup for the next arc, but that doesn't diminish the fact that it's great to catch up with these characters we've become so invested in.

From the first page, the story gains traction leading to the explosive climax of ending, giving Veil an incredibly strong start and leaves the reader eager for more.

The only downside of this book is that, although it’s immensely enjoyable and fun to read, we’re still wondering what it’s about. It looks like we’ll be getting some answers in The Lumberjanes #3, but for now it’s a small note that can’t help but be heard. After all, wouldn’t you question monsters at summer camp, too? The fact that it’s gone on for two issues without much elaboration implies that it’s normal for the camp. While Stevenson and Ellis may ask readers to blindly accept a little too much that’s going on, The Lumberjanes is, nonetheless, a fantastic read that everyone should at least give a chance, especially those former camp counselors out there!

Lumberjanes #7 is the climax of this first arc. Between the girls' friendship, their ability to get themselves in all sorts of trouble, and the supernatural forces all around them, Lumberjanes is one of the best books available right now. Issue #7 shows just how strong bonds of friendship are, which makes for an inspiring and emotional read. The creative team doesn't pull any punches and uses all the tools at their disposal to tell a seriously compelling story.

There's still so much rich lore for Stevenson and Ellis to explore, so many questions to be answered, and so many other mysteries to be solved, which is great now that Lumberjanes is an ongoing series. These first eight issues have proved the Lumberjanes have what it takes to not only carry this entire book, but also make it thrive. There's not many other books " if at all " that will make you feel this ecstatic and elated after reading it. Until the next arc, friendship to the max!

If enjoyable stand-alone stories that don't have immediate influence on the overall plot bore you, then this issue of Lumberjanes probably isn't for you. But if you enjoy great characters, a fun plot structure that gives each of the characters room to tell us a little more about themselves, with absolutely fabulous art throughout the entire issue, then this is definitely for you. Regardless of where you stand on the above, or even if you're not a fan of the series, everyone has to admit that the badges are flawless - I hope we all earn our "If You Got It, Haunt It" and "Pungeon Master" badges in our lives.

At this point, it's hard to imagine that anyone wouldn't be reading Lumberjanes. It's one of the best books out now and Lumberjanes #14 is a good enough starting point as any, though it might take some time to differentiate each character and learn their names. Stevenson and Watters have given us something fun. Despite a snowstorm and mysterious woman that threatens the existence of the Lumberjanes camp, the story still makes us feel like we're in the woods with them on an amazing journey and that we're a part of their friend circle. And with a motto like "Friendship to the max!," I don't think we could ask for anything more.

While this issue is fairly short and sparse in terms of what actually happens, with very little advancement to the story as several pages are wasted on an out-of-place interaction between Harley and the Flash, there's a lot of bang for your buck in the final pages.

This issue felt too short, simply because it was primarily a fight, but the last page will absolutely make you wait in eager anticipation for #18 out next week.

If you told me two years ago when the video game came out that I would still be reading the tie-in comic religiously, I would have laughed. I'm not laughing now, because Injustice: Gods Among Us: Year Three remains to be one of the most enjoyable books coming out of DC Comics right now.

The Movement is so unique from all the other titles DC's putting out right now, it'll be a shame to see it go after the final issue next May. It's stayed relatively self-contained, unlike other titles, but still manages to keep a consistent quality that resonates with the rest of the DC Universe. This is a book that's putting in something unique, something that can't be found in the wide array of Batman or Superman family books. Simone has done an incredible job with this series, and if this issue is any indication, then the final issue will prove to be emotional, impactful, and incredible.

If there’s any book that deserves to be continued, it’s this one. The Movement #12 captures all the heart of the series and allows these characters to shine. While the idea of this story may have been inaccessible to readers in the beginning, Simone and the creative team slowly but surely showed us the cores of these characters and ultimately won readers over. The final image of The Movement encapsulates everything that was great about it: the sense of family and camaraderie amongst an unusual and diverse group of people that overcome their problems together. That should make everyone want to be a part of the Movement, too.

Georges Jeanty continues to be a major player for big titles at Dark Horse, and his art remains sharp in this Whedon adaptation. Working with characters that look like real life counterparts can be difficult, but Jeanty takes the challenge in stride and succeeds"it helps that he's had experience before with Buffy.

The fact this issue serves to lead into the next stage of Whedon's story doesn't hinder the issue too much. There's still great content within the story and is absolutely of the same quality we've come to expect from any project with the name "Whedon" on it. Jeanty, as well, continues to prove a major artist for Dark Horse, consistently delivering above-average work. Fans of the series, and even those fans who've only seen the movie or were hesitant about the television series should absolutely give this run a chance.

While this issue might move too quickly, with everything falling into place almost too easily for the characters, there's no doubt this is a strong continuation of the series.

If there's one thing we can learn from the X-Men, it's that the world is full of grays. It's important to recognize that, while the issue was enjoyable as a whole, there were certainly problematic qualities that need to be addressed and called out. The X-Men have consistently stood as an allegory for marginalized communities, which is why it needs to be held to a higher scrutiny. Authorial intent aside, the specific scenes with Bobby and Jean don't read well from a LGBTQIA perspective. And while we can be displeased with how that played out, and feel uncertain if having another male character outed is the kind of representation we need, we can still be happy that the industry is making strides on a global level, and also recognize the strength of the other parts of the issue.

By the end of the issue, you should feel like it was an issue worth reading. Ray Fawkes is able to distill the relationship between Batman and Robin into this one-shot glimpse into the future. Although we're not privy to how Duke became Robin besides a cursory mention and although we don't know the exact details of their relationship as partners, we get all the information we need to so that, by the end, we're rooting for Duke and for them to work out as a team. That's what marks a successful Batman and Robin story: at the end of the issue, it was about the bond between Bruce and Duke, and we really can't ask for more than that.

Peter Tomasi is a strong choice to spearhead this project, especially with the fan base he's garnered from his work on Batman and Robin. He doesn't disappoint in this first issue as he reminds that Batman: Arkham City happened in one night (despites hours and hours of gameplay) and that Bruce Wayne is, at the end of the day, only human.

Birthright looks to be a comic to watch; with that twist at the end of the issue, I don't know how you could possibly stop yourself from wanting to pick up issue two.

If I could choose any Convergence book to win the "Most Fun" award, this would be it.

To any young adults who were a fan of the series, the first two issues will really show us if this series is worthwhile or not; here's hoping that it is!

While the creative decision to make the Outsiders an expansive organization brings up questions as to how it interacts with similar organizations like the League of Assassins, writer Jeff Lemire runs with it and goes all out to give us an action-packed and exciting issue.

Overall, though, Head Lopper was enjoyable from start to finish, largely because of the charm Norgal has as the main character. The cartoonish art style adds to that charm by juxtaposing his brutal nature with comedy, a formula that " although somewhat clich " works incredibly well for the series. By the end, Maclean sets himself up to further the conflict even more " it'll be fun to see how Norgal handles fighting a new, powerful mystical force and what effects it'll have for the Isle of Barra.

The end of the issue marks a good transition into the next one, as Keith and his guide She-La are captured by what appear to be an unaffiliated third party. At this point, Keith's life is very much in danger, and since Keith is the most likeable character of them all at the moment, his uncertain fate will make people want to pick up the next issue. Overall, Zdarsky hits the right beats in the story to make us care about Keith by the time the issue is over, enough to make us want to see what happens next; ultimately, that's a success.

The story is fairly linear, which Jenkins and Daley use to their advantage. Without many distractions or flashbacks used as exposition, the writing team pushes the plot forward and consistently gives Sander obstacles to overcome before the overarching goal organically appears. The only thing that's missing is some spark that's hard to quantify or put into words. While there are many elements that are compelling throughout Lantern City, there's nothing that makes us excited about what's on the next page. Part of that probably comes from the fact that this is a story we feel has been told before, but it ultimately detracts from the otherwise solid writing and story.

Ultimately, it's the dialogue " which was a tad clunky and congested at points"and the artwork " which felt too muted " that stops this from being a perfect start to a new series.

For anyone even somewhat interested in the source material, this is definitely something to pick up.

Princess Ugg is one of those stories you wish you would have thought of yourself, as it feels so obvious after reading it. Naifeh gives himself the latitude to explore these characters in a unique setting where their mettle will be tested as these young Princesses try to learn the craft without losing themselves to others’ expectations. Paired with Warren Wucinich’s colors, Naifeh and Oni Press have a reason to catch people’s attentions — let’s see what they can do with it.

If there were ever a book to give to a girl - or anyone for that matter - who felt like they didn't belong, this would be one of the most perfect. Issue #5 of Princess Ugg continues to show that the series is quickly becoming one of the most feminist, inspiring, and heartfelt out there right now.

At its core, Bennett's story in Red Sonja #1 is about finding your place in an ever changing world. The plot is fairly straightforward: the King of Hyrkania is dying, and in his dying breath he asks Red Sonja to take his place. When she refuses, she must accept the consequences as the new regime takes place. Like with any good story, not all is as it seems. The fact that the plot of this issue can be boiled down to a few sentences shows how accessible Bennet's story is and how much potential it has. Readers aren't going to be scrambling to try and understand what's going on, so Bennett focuses on the most important aspect of the story: the characters. What comes from that decision is a heartfelt tale that, by the end of it, you're absolutely going to want to find out what happens next.

This issue of secret origins covers three heroes and a villain: Batgirl, Firestorm (counts as two!), and Poison Ivy. By far, the Firestorm entry was the most enjoyable - Dan Jurgens does a smart move in choosing how to narrate the story that immediately brings us into the world of these two teenagers.

Beyond everything, Star Wars #14 marks the end of a great interlude story that ties into the larger narrative, expands on current characters, and introduces new characters as well. Wood continues to craft a great story to add to the already rich expanded universe, leaving the readers wanting for more.

Paired with Goran Parlov's economic line art and Ive Svorcina's flat colors, Millar and the team give us an opening issue that can't help but make readers pick up the rest of the series.

Starlight #2 has a lot of potential - let's just see if the creative team takes advantage of that in the coming issues.

By starting the story at the moment the status quo gets disrupted, Johnston has propelled the readers head first into the narrative; by clearly defining sources of conflict, Johnston has also allowed the reader enough information to become engaged with the story. At first glance, this series seems like something easily passed over, but given a chance, it shows its true potential to the reader through its smart balance of characters and action.

All the various artists do this book justice and it all amounts to an enjoyable read and a really great time.

Readers will come away from this reading feeling ambivalent about the majority of the issue, but will hopefully come away thinking about the potential characters like Superman and Overman have to be complex and nuanced characters. Hopefully the next issue of Multiversity will pick up its momentum, barrel towards Convergence, and continue to give us a reason to stay invested in the story Morrison's trying to tell.

There's so much to say about White Suits simply because there's so much embedded in the narrative. One read through simply isn't enough to appreciate the intricacies within the narrative"two or three are recommended. While such thought from the creative team is appreciative, it brings into question whether or not readers will want to read through something three or four times to get the issue's full effect. The answer: please take the time to go through it multiple times " it'll be worth it.

Though the protagonist's internal monologue and the overly gratuitous cursing can sometimes make the reading experience drag, the issue remains, overall, as a strong addition to the growing storyline.

We are ... Robin is a great example of how comics should bring more diversity into the mix. Bermejo first and foremost creates a compelling story, which ultimately allows him to talk about things like the foster care system, what it's like being a teenager in today's society, and creating a Gotham that actually looks reflective of the world in which we live. Just looking at the team itself, there appears to be multiple backgrounds, perspectives, and walks of life being integrated into the team. Ultimately, this is a book that anyone who wants the comic book industry to reach a wider audience and be more inclusive should support.

Overall, even though the story doesn't pack as big of an emotional punch as it could have, this is still a solid story.

Overall, the story in and of itself isn't weak. Tomasi is expanding on Two-Face's backstory, while "unraveling the mysterious connections between Harvey Dent's life and the origin of Carrie Kelley." His craft and ability as a writer shines through in the intricacies and layers that come about after examining the story more closely. The fact of the matter remains is that the future holds more excitement than the present, as the story surrounding Batman's retrieval of his son's remains feels much more exciting and thrilling than this story in this particular timeframe. Let's hope Tomasi is able to make this arc worth is as it comes to a close and really give the readers a sense of fulfillment for sticking it out as we await the future storylines to be told.

If nothing else, this arc can be remembered as the time Tomasi and Gleason chose to do something so drastic and bold, readers can't help but remembering the story. By the end, though, they didn't do enough to earn that ending " by the end of the story, Harvey could have gone either way, and the way Tomasi went seemed like a decision he wouldn't have made. Maybe Tomasi flipped a coin to decide Two-Face's fate " either way, it'll be interesting to see if DC maintains this status quo with one of their most iconic villains. It'll be even more interesting to see if DC decides to let the Boy Wonder return in The Hunt for Robin - let's just say next month's issue can't come soon enough.

The one drawback of this issue is how self-contained it feels. You would think Damian's first question would be to ask where "Grayson" was, considering Damian died to protect him or that there would be a scene where Damian's just catching up on current events and reacting to them. Hopefully as the series continues, we'll see more of Damian's interaction the rest of the DC Universe and the Bat-family. It's unclear where the next few issues will take us, especially with Convergence on the way. Tomasi has set himself up in the best possible manner: with most everything in the past now dealt with, he and the creative team can now proceed into the next stories and focus solely on how this new status quo will impact Gotham and their relationship.

If all of DC Comics was erased from the face of the Earth and only Patrick Gleason's art from this issue remained, it would still be perfect.

It's hard to put into words just how great and emotional the last page of this issue and run is; it's hard to put into words just how much it means to see Bruce and Damian smiling together after everything they've gone through since Damian was reintroduced in 2006's Batman and Son. Tomasi has been a saving grace for this character, as has this entire team. From start to finish, Batman and Robin has been one of the most enjoyable series put out by DC. Batman and Robin #40 synthesizes all the best elements of what superhero comics can be: awesome action, meaningful character development, conflict and tension that doesn't rely on death or serious injury, and ultimately a fun read that will end up leaving you smiling just as much as Bruce and Damian.

Regardless, the issue feels more like a set-up issue than an actual story. The weakness of the issue comes from its overly dramatic visuals " both Dr. Caulder and Dr. Magnus (at the end) are both covered in shadows as they leave us with cliffhangers and, like Cyborg, confused as to what to do next.

Considering the strength of each individual scene and the quality of the artwork throughout the issue, Justice League #34 still remains an enjoyable issue. It just doesn't try to be anything more than what it is and spends more time setting up the next conflict than conveying a message.

At the end of the day, despite the fate of billions hanging in the balance, this is a fun story where you get excited with every page from beginning to end.

This is an event you won't want to miss and if Justice League #41 is any indication, this will be one of their best.

The book draws readers into the narrative with their stunning visuals, fleshed out, dynamic characters, and interesting premise. The creators at Archaia have caught our attention; let's see what they can do with it.

Although Hacktivist falters a bit in the second issue, mainly due to a story bogged down by its own ambition, it's Marcus To and Ian Herring's artwork that makes it all worthwhile.

Marcus To and Ian Herring continue to be an all-star combination as the art never ceases to amaze. To's ability to create immersive illustrations that bring the reader into the story is one of the most appeals aspects of Hacktivist.

If you're at all a Star Wars fan in any capacity, Darth Vader is for you. Gillen continues to make him a dynamic and multi-faceted character, giving him the spotlight in these character-driven stories that capture all the best aspects of Star Wars. Between the strong writing and the even more stunning artwork, this isn't a book you'll want to miss.

Standing alone, this issue was mediocre; however, compared to the previous issues, Darth Vader #4 pales in comparison to the quality we've experienced so far. It'll be interesting to see how Doctor Aphra and Darth Vader's partnership progresses, and hopefully we'll see Aphra become something more than just a cool archaeologist. All of that taken into consideration, the final page of the issue will have you waiting in baited breath for the next issue as Darth Vader forays more deeply into the Emperor's secrets, because that ending is just as good and satisfying as the previous issues.

Darth Vader #5 continues to build on Gillen's success of writing the Dark Lord of the Sith. As this arc draws to a climax, this issue sets Gillen and the entire team up for an explosive confrontation where they can really let their imaginations run wile. Hopefully, they'll take advantage of the narrative they've set up and give us a showdown that'll make even Obi-Wan wince from beyond the grave.

This issue of Superman/Wonder Woman really ups the stakes and tension in the story for all involved. As Zod and Faora make their escape, with Wonder Woman down on her lasso, and Superman knowing he's no match for the pair alone, readers can know that they next issue of Soule's series will be an exciting one.

However, these questions pale in comparison to the strength of the story Soule and the team tells. All of the visual success comes in tandem with Soule's success as a writer. He balances the exposition and explanation with the incredible action scenes"the entire team is so on point with each other and the creative synergy between them is breathtaking. The end of the issue is unacceptable simply because we need to know what happens next. There doesn't seem any hope for Wonder Woman's survival, but we know that there's no way she'd be truly dead, especially not when this happen before the events of Forever Evil. Because we know that everything turns out all right in the end, we're so engaged in the story because we want to find out how.

If there could be one word to describe Superman/Wonder Woman #7, it would be disappointing.

Who needs Superman? In the latest issue of Action Comics, Clark Kent and Lois Lane duke the question out in point/counterpoint op-eds. On one side, Clark Kent says that the world doesn't really need Superman; on the other, Lois Lane turns the question on its head and says Superman needs the world. In a very smart way, Greg Pak is able to bring some new life in this old question and create a story that's part emotionally exhausting, incredibly pensive, and sincerely human.

For anyone who hasn't been keeping up with the current storylines involving Superman, Action Comics #41 is a great jumping on point. Greg Pak and Aaron Kuder make a compelling enough story and give us enough information to bring us up to speed fairly quicker.

If anyone asks, "What should I be reading right now?" I'll be hard-pressed to find a better answer than Archie vs. Predator. Beyond anything else this book has to offer, it's incredibly fun. Seeing the Archie gang in full swing with a horrible monster waiting to kill them all " with two deaths already from this issue " this series has me hooked. The only question waiting to be answered is if this will be a slaughter, or will the Archie gang find a way to fight back?

All in all, we're really not reading Archie vs. Predator for a believable story. We're reading it because the thought of the Predator wreaking havoc through Riverdale and facing off against some of our favorite childhood characters is something too cool to miss out on! Archie vs. Predator #2 really kicks things into high gear and promises that no one is safe and that you have to keep reading if you want to find out who lives, who dies, and which side wins.

Gail Simone takes the vampire misconception about the Bat Family to the extreme in Batgirl #28, when the new villain Silver believes they're actually vampires attacking people in the night

Aesthetically, this book hits all the right points. Babs Tarr and Maris Wicks are the stars of this issue - not only is it great that Cameron Stewart and Brenden Fletcher have written such a diverse cast, the art team renders it beautifully and ensures that the population of Burnside reflects the world in which we live.

Overall, the buildup during the first issue wasn't done as well as it could have, but the ending promises an improvement in future issues where the story is concerned.

Overall, Batman Beyond #3 is a solid entry in the series. Jurgens continues his arc by giving Tim the opportunity to be the best Batman he can be, while turning our expectations against us and giving Brother Eye another advantage over the citizens of Neo Gotham. Chang and Maiolo do a wonderful job at enhancing the issue with their visuals, lending their expertise to make the narrative come to life on the page. It'll be interesting to see how Tim and the rest of the team cope with Brother Eye's new attack on Neo Gotham " if anything, it'll just be another opportunity to see a larger amount of great eye puns in Brother Eye's dialogue.

After the annual fell flat, it seemed that Earth 2 would be on steady decline, but Taylor has proven that the misstep wasn't a pattern and that the series has gotten back to its usual quality. By taking this issue to give everyone a breather, Taylor allowed these characters to breathe and set themselves up for interesting stories in the near future. Let's see what he can do with it.

Much of the issue's excitement comes from what could be, rather than the issue itself, which is its major flaw"this doesn't change the fact, though, that the issue is an enjoyable read and worth picking up.

As the Flying Spaghetti Monster in the delegation of gods hosted by Odin would say, Loki Ragnorak and Roll is #brilliant.

As bogged down as it felt at times, the issue, as a whole, was still a fairly good read, and now that Thor and Loki are reunited, perhaps the charm and witty repertoire between the two will return and enhance the narrative.

Gothtopia seems like it can be an interesting story, let's just hope that future issues will be more engaging for readers in the context of the overall story.

John Layman finishes his run on Detective Comics with the conclusion of Gothtopia, but doesn't quite earn the finish. Although his portrayal of Batman is one of the best"showcasing Bruce's ingenuity and compassion extremely well"the overall conclusion of the story lacks a meaningful climax.

The opening issue of their run promises readers the title is in good hands with an exciting story to come.

This marks a really great opening to what will hopefully be more work from Percy.

Aquaman #28 may not be anything spectacular, but that doesn't make it any less pleasant. Seeing Arthur Curry, rather than Aquaman, for a change was a welcomed experience. If nothing else, we can thank Parker and the team for putting Arthur in a suit, because he really wears it well.

One of the most enjoyable aspects of these past few issues has been seeing the dichotomy between Arthur Curry and Aquaman. It appears that Parker won't let that overshadow Mera, as she continues to be a strong character, getting business done in Arthur's stead. If nothing else, Parker's ability to juggle between all of the facets of the narrative is a testament to his abilities as a writer: although we see such different settings, between Arthur and Mera at their home, to Mera as acting queen in Atlantis, to Aquaman fighting on the battlefield, it all feels like an Aquaman adventure while still getting to the heart of these characters, which makes it such an enjoyable read despite its flaws.

Though the story ultimately feels lackluster, that's only because there wasn't much variation in the pacing of the story, especially in the main scenes with Aquaman. While the action was done well, the characterization fell short and stopped Hercules or the giant-borne from becoming villains that deserved our attention. It'll be nice to see heroes like Wonder Woman and Aquaman work together, especially when Parker's reasoning makes the story feel so organic and believable.

While it's place time-wise in the DC Universe is still questionable, Aquaman and the Others shows that there's room for more non-traditional superhero teams (RIP The Movement).

Anyone who has no trouble whatsoever in suspending their disbelief will most likely find this issue particularly satisfying; anyone otherwise will have to look past some details to fully immerse themselves in the story. Either way, readers will ultimately be rewarded by the character-driven story Lemire lets unfold, which pairs well with the great visuals provided by the art team. It’s unfortunate that this story won’t be directly followed by Lemire, as Greg Pak and the usual creative team pick the book back up again in June, but this marks a nice departure from the darker, heavier tones set forth by previous Batman/Superman issues.

Tomasi excels as a writer, both in his technical ability and in creating interesting and engaging content. Unfortunately, because the most interesting dynamic between Bruce and Damian is lost, he has to make do with what he's got. Overall, he's making the stories the best they can be " this one being no exception " but it's still missing the heart provided by that young, arrogant Robin we all have come to sorely miss.

The art, overall, is fairly well-done throughout the issue by Robson Rocha, making Birds of Prey: Futures End is one of the more gratifying reads of this event.

Even though we're as lost as they are in figuring out exactly what's going on, King takes steps in this issue to create clear objectives for the survivors of Earth 2 to meet and that's helped wonders in building up moments.

The major thing this book suffers from resonates with most of the other Convergence books so far: it's doesn't seem to answer the 'so what?' question and tries to end on a dramatic look off to the distance without conveying much of anything.

The ending of the issue falls to the wayside as the confrontation between Guy and Hal just doesn't pack as much of a punch as it could have. With the impending threat of other worlds at their doorstep, Guy going off to fight it without his power ring ultimately feels more ridiculous than poignant.

At the end of the day, you'll come to see Parallax wreak some carnage, but you'll stay for Kyle Rayner.

However, those successes just couldn't overcome the fact that this story feels like it ultimately won't matter. It was nice to see the Captain Marvel family in action again, but ending"while hopeful"didn't have any resounding note. Convergence: Shazam! #2 fails to answer that all important "so what?" question. Maybe it's just because it's tied into the Convergence event as a whole. It's just hard to get past that this story was nice " for many of the reasons stated above " but it just doesn't feel like it has any kind of impact beyond that it was nice. Hopefully, we'll see the rest of the Marvel family in action in the future and can add some of that hopefulness to the main line.

The bottom line for this issue is that, despite its flaws, it's still a fun read. The simplistic and driven storyline is engaging and has enough heart to make us feel for the characters, which is the most important part of any story. Hopefully this won't be the last we see of these characters, since they all have potential to be great. After all, if the world was ending all around you, would you be able to help save the day like them?

Even though Evil Empire gets off to a rocky start, the sheer shock value of the last few pages easily makes up for it, leaving readers wondering exactly what happens to turn the country into a dystopian regime.

There's so much buildup that it's getting to the point where the reader doesn't want to wait any longer for the climax.

Otherwise, it seems the Batman family just can't catch a break. The New 52 marked DC's attempt to do something new, but between the death of Damian Wayne and the uncertain fate of Dick Grayson, it seems the creative teams are more interested in tearing Batman back down to his roots than building towards a future, which is anything but new. Besides the fact that Geoff Johns and the rest of DC continually tug at our hearstrings with the relationship Batman has with his partners, the creative team of Forever Evil hit it out of the park by complementing each other's strengths. This success sets them up with a perfect opportunity to bring the arc to an explosive and exciting end. Let's see what they can do with it.

Don't feel bad if the ending leaves you feeling a bit confused. Though it looks like the next few issues of Gotham Academy are going to be exciting, it'll take tremendous effort on Cloonan and Fletcher's part to adequately explain everything that's going on and how it's possible. A boarding school for teenagers is probably one of the most "realistic" and grounded settings in any of the DC books right now. That hasn't stopped the writers from introducing more and more out there stuff, with this ending the most recent and biggest to date " after all, the possibility of a haunting at an academy isn't that impossible in the confines of the DC Universe. All in all, Gotham Academy continues to chug along as the engine that could and there are high hopes for it to get even bigger and better than it already is.

Panel breakdowns and zooming in on the characters for panels get repetitive at times, but overall their work - and Injection #1 as a whole - is solid.

What Lemire and the team have working for them is the potential of the cast of characters. The heroes on Earth are already working well together " barring the sarcastic comments towards Animal Man's capability " and the attention given to Hawkman implies he'll be another interesting factor as well. Don't expect to be sold completely on the idea of this book, but be prepared to leave with expectations of potential in the story.

Despite the several successes the book achieved, Justice League of America #12 still lacks a cohesiveness to make the entire book succeed. There's so much going on with Forever Evil that this loses its unique voice amongst the rest of the tie-in issues and remains average within the context of the superimposed event. On its own, however, due to Stargirl, Martian Manhunter, and the indelible hope both seem to hold on to, the book remains a well thought out story about two major Justice League players.

While Lola XOXO may not be anything groundbreaking, there's nonetheless potential for future development

Despite the solid narrative structure and composition, Lone Wolf 2100 struggles to really make itself distinct with all the other post-apocalyptic material available. There's a draw because it's inspired by a manga series, but there's no overarching, strong pull for readers to stay entrenched in the story for future issues. The ending certainly leaves Heisserer enough to hook readers into wanting to see the next issue as we see more clearly who we're supposed to be rooting against, but whether or not that translates throughout the issues after that is questionable.

Jason Aaron does an admirable job with the first issue of this new southern series. He makes the protagonist's goals clear, shows who's standing between the protagonist and his goal, and sets up the culture of the environment through the reactions of the town to the casual, violent actions taken by the townsfolk. Unfortunately, he and artist Jason Latour don't fully realize the potential of the narrative.

There's nothing special that goes on in this issue and we're left wondering exactly how it'll fit in the grander scheme of the plans for the DC Universe, but it was still enjoyable.

It was certainly a surprise to hear that Dark Circle Comics would be trying out a dark and gritty superhero story when so many fans have complained about an overabundance of that kind of story. It wasn't a surprise, however, to see that writer Duane Swierczynski and artists Michael Gaydos and Kelly Fitzpatrick were able to tell the beginnings of a dark and gritty superhero without making readers feel emotionally drained afterwards. What the entire team accomplishes in The Black Hood #1 amounts to a solid start that promises a story about the complexities of taking up the superhero mantle while also dealing with the decisions you've made in the past. Dark Circle promised us great character-driven stories, and it looks like they're set out to meet that promise.

The Green Team finds strength in not taking itself too seriously, keeping the enjoyment in the book, and featuring a diverse cast that we've oddly come to care about. It'll be sad to see this go after finding its rhythm.

Overall, Williams presents an interesting concept with an above-average opening, done well enough to give readers a sense they need to stick it out for a couple more issues before making a final decision. Reader should definitely continue to read the series, if not to see what happens, but to understand exactly how the world's history with super-powered royals has progressed in a similar manner to our world's history without them.

Writer Aly Fell starts off the issue with heavy exposition, before leaping forward two weeks, then leaping forward 20 years, resulting in an incredibly fast pace that makes it hard to become invested in the story until we encounter the protagonist Rosalind, a tomboyish Elizabethan girl.

Ultimately, Toil and Trouble is a story that has enormous potential. Scott has done an amazing job in creating a world full of many different kinds of people: all three of the witches are completely distinct from one another and, even though we don't know too much about them, there's a lot of room for Scott to maneuver and create great character-driven tension. The last page of the first issue ties directly into the beginning of Macbeth, so the next issues are bound to make us feel more invested to the story as Macbeth deals with the ramifications of Smertae's actions.

Overall, the issue makes some interesting explorations into this unique iteration of Atlantean culture and deserves at least another issue to let the team find its footing.

Venus feels more concerned about the mission itself rather than the people entrenched in it. Without that human element, the mission feels mechanical and sterile. We care more about the success of the mission because of its impact on the United States' government, not because we necessarily want to see the crew of the Mayflower survive. That's where Loverd fails to fully build his momentum. We see one thing after another happen, but we don't get the opportunity see Manashe and the other characters more in-depth, we don't get to see their reason why. Without knowing more about the crew, it's hard to fully engage with the characters and what ultimately holds Venus #1 back from its full potential.

Batman #27 is another great installment in the Zero Year storyline and promises to send the reader head-first into the climax between the Riddler and Batman as Dark City concludes in Issue #28.

None of that changes, however, that this is still an enjoyable read, from both a writing and artistic perspective. Snyder and Tynion release just enough information to get the reader hooked without spoiling the most important details, while Nguyen and Fridolfs craft a masterful visual portrayal of events.

All points considered, this story still has all the components necessary to be successful. It’s a good comic that doesn’t try to be anything more than what it is: a straightforward, detective story in which Batman quickly catches the criminal. Between following “Zero Year” and the fact that Duggan simply tries to do too much in one issue, this issue fails to make waves, serving only as a placeholder to move on into “5 Years Later” and then “Endgame.”

At the end of the issue, we still have absolutely no idea why everything that's happening is happening. Sure, we understand that the Joker got to the Justice League, but the fact that we're just as in the dark as Batman is frustrating. It's fine if Batman, Alfred and Julia are completely clueless, but we should have some inkling as to what's going on. By the end of the issue, you don't feel inspired to read on and figure out the rest of this mystery - you just want to toss the book aside and wait to get some answers. The awe of seeing Batman, Superman, Wonder Woman, the Flash, and Aquaman will wear off; that fantastic imagery of Superman descending down from the heavens, tying back to the deep and thoughtful metaphor at the beginning, becomes second-thought. While there were absolutely successes in this issue where Snyder, Capullo, and the rest of the team were on point, the overall core of the story isn't strong enough to carry an idea of this magnitude.

Despite the lackluster story elements, the overall plot remains strong. The idea of the Joker calling all of the unsaid rules off and giving his all to destroy Batman has been an incredibly fun event to watch. It just hasn't been the most engaging. If nothing else, we can thank the story for giving Capullo, Miki, and Plascencia the opportunity to go all out in what they're talented at and give us some of the best Batman visuals seen in quite some time. Batman #39 may not have been the best issue of this current arc, but it certainly makes us feel there's hope yet.

It's frustrating that such a visually stunning book doesn't have the same quality content. In the coming issues, we can only hope Azzarello will deliver an exciting climax that makes previous issues pale in comparison as this story arc ends.

While the story may not have been up to par with what we've come to expect with Azzarello, Chang and Wilson push the art far enough to still make the issue an enjoyable read. Hopefully Casasndra and the Firstborn will gain some much needed three-dimensionality in the coming issues to give Wonder Woman and the arc the finale it deserves.

This is one of the best issues of Wonder Woman from this creative team, and really dives deep into what makes Diana such an amazing character.

The series doesn't offer anything remarkable, but it's nice to see a window into the Templars in a more recent era"the roaring '20s, to be exact.

By the end of the issue, there's no question that you'll be invested into the story. We're given a glimpse at "The End"" and, paired with the preview we saw in Batman #28 and the "Batsgiving" teaser, we have a sense of what the future has for us. Because we have that sense, that things are going to turn south for these characters, that someone's pulling the strings behind the scenes and setting up the proverbial chess board, we're enthralled with trying to figure out what's going to happen next. From beginning to end of this issue, you won't want to stop turning the pages and, at the final page, you'll be on the edge of your seat anticipating the next issue.

Although these qualities serve to bog the narrative down, Vicki Vale manages to trudge through it all and, not only shine, but thrive in this issue. Her attitude towards the “high school interns” reflects sentiment in the industry and although she’s being a bit harsh, her words have an air of sincerity and clarity that’s lost in the rest of the narrative. Beyond anything else, we can get behind her as a character because she loudly speaks her mind, which is a quality we all should aspire to emulate. Though her tactics in getting the story on Falcone were more than a bit haphazard (and almost naively dangerous), we were still able to root for her as a character to get and break that story the villains have so incessantly covered up. Let’s hope Vicki and the rest of the cast can trudge through the rest of this set-up and give readers the story they’re itching for, but only time will tell.

While this issue was mostly set up veiled by well-done action, Seeley still managed to let some heart shine through by letting characters have their moments in each separate storyline. Similarly, although Simeoni’s art throughout the issue is haphazard, there are several moments where he more than succeeds, which is enough to keep the reader satisfied. Batman: Eternal hasn’t wowed yet, but it appears to be on its way.

Overall, while there are several great moments " especially when the family rallies around Batman in an incredibly inspirational way " they ultimately fall short compared to the rest of the issue.

For all intents and purposes, this is a solid comic to start off Harper's debut journey as a legitimate superhero. Even though the story read too quickly as things resolved without too many obstacles " especially since Harper seemed to build her own solution out of nowhere " it still felt like Harper earned her chance to be the hero and owned it.

It also didn't help that this issue didn't feel important to the larger context of the five years later world, which made the few aspects that stand out feel just as mediocre as the rest of the issue.

There's certainly potential to the story, but it's only going to be realized if these characters are given enough room to be fleshed out and three-dimensional. The idea of the suit will only get the narrative so far, and it'll be up to the characters to drive the story at the point; hopefully, the plot in future issues will test these characters and force them to reveal more about their character so we can get behind them and root for them. At this point, Blackout is at least worth a first look in the hopes that it'll improve going forward.

This is by no means a bad comic, but it lacks a meaningful beginning to fully engage the readers. Writer Kevin J. Anderson just doesn't give us enough of a reason to root for the protagonist, and the world around him " though we don't know much about it " which doesn't make us feel invested in his success

Just as the protagonist of Kevin J. Anderson's Clockwork Angels listlessly traverses through the plot, so too do we as we read through the issue.

In the long run, it's Catwoman's final fate that detracts from the rest of the issue - it just didn't feel earned and seemed to serve only to increase the angst level for the Dark Knight.

Our heroes, especially Weather Wizard, get a chance to finally catch a break, and Buccellato manages to do this while still keeping to the desperate tone of the overall Forever Evil storyline

Suffering from underutilized characters and a sometimes contrived plot line, the issue none the less remained an enjoyable between the great dialogue and stunning visuals. Loki: Agent of Asgard has so much potential, it'll be exciting to see where Ewing takes the God of Mischief.

If I could give this issue a 10 out of 10 for pre-teen Joker twins and a teenage Deathstroke, I would. But even though there are several appearances of characters that will make you either laugh out loud, chuckle in embarrassment, or freak out in excitement, New Suicide Squad: Futures End amounts to nothing more than an action-fest with little emotional or meaningful impact on the larger narrative.

Overall, The Star Wars acts as a great "What if?" for any fan of the original Star Wars, but it doesn't read like it would be easy for someone to enter into the series cold. However, Dark Horse is smart because it knows the target audience of The Star Wars. Looking past the obvious faults of the issue, that are similar to the faults of the movie, the issue nonetheless provides the reader with an engaging and overall enjoyable tale that keeps the reader wanting the next issue.

Hopefully Jolley will take the time to flesh out this cast of characters to really draw the reader into the story; until then, it remains an interesting concept with a mediocre execution.

Writer Dan Jolley takes us back to the Terminator roots as high-intense, satisfying action scenes dominate the issue.

Some people are going to complain that the first half of World's End #1 is too much recap, but writers Daniel H. Wilson, Marguerite Bennett, and Mike Johnson are able to add subtle details that will satisfy anyone picking this up.

It's hard to feel invested in a series that's close to an ending you already know and whose outcome doesn't seem to matter in the long run of the DC Universe.

Earth 2: World's End is at the point where it feels like the end of a long marathon and you just want to get through with it to move on to your next 26.2-mile run.

This issue definitely picked up momentum from the last one, proving that it still has life. The art team is really the hero of the issue, rendering images packed with so many different elements that still feel like they have breathing room - when you're drawing packed refuge areas and armies coming at you, that's a feat worth recognizing.

None of the individual plot lines have enough weight to carry the narrative, and it's come to the point where getting to the end feels more important than seeing the events unfold.

Since this is the third issue, it's clear they're most likely going to stick to this format. Unfortunately, that means it'll really only appeal to the most devoted Bob's Burgers fans, as the casual fan won't be satisfied with the short segments - especially if they're not used to comic books - and anyone not familiar with the show isn't given enough to become invested in these characters.

It's hard to accept, but it looks like Bob's Burgers is going to remain in the shadow of its source material until it can find a way to break this mold of predictability.

Overall, there are definitely some hiccups in Year Two, but it remains as a book that doesn't take itself too seriously and still tries to deliver a great character-driven story. Between Taylor's writing and the art team's visuals, it appears that Year Two will continue on its predecessor's success and remain as one of the most enjoyable titles published by DC Comics.

That's really what it boils down to by the end of the issue. Although the story progresses in a logical sequence, from Oa, to Ferris Air, to Washington, the book no longer feels like the characters are the impetus for the actions. They feel disconnected from each other, like the cause and effect pattern has been lost and Taylor is simply pushing the plot forward from event to event. He had a great start in the first issue by focusing on Black Canary; it's by taking a step back to look at the entire world that he's lost that character-driven perspective that's all too necessary to stay invested in the story.

In the end, readers can be rest assured they'll be caught up as Hitch sets himself up with a fantastic opportunity to explore how everyday people"well, as "everyday" as movie stars can get"will react when they're asked to step up to be Real Heroes.

For a story that had so much potential, it's more than a little disappointing that writer Bryan Hitch opts to have characters take to the background as the heavily inundated plot takes precedence.

If nothing else, the idea of this story is what's hooked us into reading. Batman Beyond is a fan-favorite, and to see him in the mainstream DC Universe is a joy, but the story doesn't do enough to hook readers into be interested for the long run.

All in all, this wasn’t the most stellar issue of Futures End, and the successes weigh evenly with the faults. For anyone who’s already reading this series, it won’t cause any negative feelings, especially since it gives hints and nudges towards the future. Anyone looking to jump on to this series should do soon, as its most likely about to get more complicated as different facets of the DC Universe start to get involved.

This issue of Futures End is one the worst offenders in terms of not being able to appropriately balance between the storylines, because at the end of the issue you'll feel unsatisfied with where each left off. What feels more like set-up for the next issue should have built tension and momentum only fell flat.

Despite evoking a good amount of feeling, Futures End doesn't have much else going for it. It's not that the issue was bad by any means, there just wasn't enough to make it distinct from the last few issues.

The entire issue is fairly divided on the successes and failures of the creative team, leaving the read to feel ambivalent about the experience. Because Sebela doesn't do enough to engage the reader in the story and places too much emphasis on the plot instead of who's involved, we're left with little reason to continue with the series. At the same time, it might be worth it to see how Chris Visions, a newcomer, grows throughout his time on the series, because it looks like he'll be one to watch in the future.

Ultimately, the origin story for Khalid doesn't end for this issue and as we leave on a cliffhanger for #2, it's hard to tell whether or not there's enough to keep us hooked into the next issue.

Overall, Feathers is worth reading through that first issue. It takes time-old tropes and spins them anew, making for an interesting premise that has potential to be a fantastic all ages story. Even though Corona doesn't take as much time with character development in this issue, it's understandable because he's worldibuilding. Perhaps as the series continues, we'll get more of a focus on who Poe is as a character, why he does what he does, and what exactly is at stake in the story. Until then, just enjoy the cool character designs and artwork, because it is that good.

As the effects of Barry's death continue to be felt, readers are still taken through a story muddled with abrasive, overbearing characters and a deeply dramatic plot.

It seems like the newly reborn members of the Justice League are finally finding their place within The New 52; while this issue was, for the most part, fairly mediocre, it's gold compared to the preceding issues.

I don't know what it is, but there's something that's drawing me back again and again to Justice League 3000. While this new Justice League still has grating personality issues, there appears to be glimmers of hope shining through in this issue.

Regardless of its faults, Reyn #1 is a solid start to a new series that looks like it can be a great source of story for the sword and shield fanatics. The comparison to Dragon Age is only in the names Symon chooses to use for the organizations and characters, but that doesn't stop it from taking on the essence we all know and love from medieval fantasy stories. Hopefully in the issues to come, we'll learn more about Reyn and Seph's motivations as they navigate this unsettling world.

Overall, there's a lot of potential in this new budding Teen Titans team, and hopefully the new Power Girl is here to stay because she adds a whole new element of reality to the inexperienced super team.

So much is going on in Teen Titans and yet it's hard to find a reason to really feel invested in these characters.

Ultimately, The Last Contract is forgettable. It's not bad enough to remember its quality, but it certainly doesn't have anything that sets it apart, either. Since this is only a limited series with three more issues, it might be worth giving it a second shot with its next issue, but it seems fairly predictable with how the story will unfold.

What should have been a highly engaging science fiction comic book turned out to be a mediocre version of the norms in the genre.

The unfortunate truth about book adaptations is that, sometimes, even with a great story at its core, it just can't transition well into a different medium. After reading two issues of Tales of Honor, it appears that's true for this as well.

Instead of crafting a story that powers into an explosive and emotional meeting between these two parties, Worlds' Finest #19 stands as a lackluster and disappointing opening to the arc. Hopefully, the remainder of "First Contact" will deliver on the expectations we've come to anticipate between the meeting of Power Girl, Huntress, Superman and Batman.

If there was ever such a missed opportunity, it would be Paul Levitz's First Contact. After reading this issue, it's hard not to wonder what kind of event could have happened if Forever Evil hadn't been going on.

It's incredibly clear from the get-go that Nightwing and Oracle are going to win - it is their book, after all. Unfortunately, that made it incredibly difficult to feel invested in what was happening.

Another day, another story happening in space. Pariah gets off to a weak start as readers are wondering exactly what this world is all about.

Perhaps fans of the original series will see more to this than what's on the surface, but to new readers Pariah is inaccessible and hard to get into without the prior knowledge.

Overall, the end to this arc feels almost hollow, leaving the reader wanting more from the conclusion of the story.

By the end of the issue, Franks' motives are clear and simple: he wants revenge; Ross' choice to strike that simplicity is a success because the story has a clear route to go. Beyond Franks as a character, there's"unfortunately"not much else: the plot is unbelievable at best and the artwork is overly gratuitous in both the gore and sexual content.

Unfortunately, The Field doesn't make readers invested and there's nothing in the issue that gives us an urgency to pick up the next issue.

Overall, these two preludes to "First Contact" do too much to set-up the future that they neglect to ensure their own quality. Let's hope that Levitz has crafted a riveting story in "First Contact" that's worth the less-than stellar build up.

Between the lackluster art and the trope-heavy, overly dramatic story, the story is left feeling hackneyed and clich. Straczynski relies too much on tropes to describe these characters and situations for him, reducing characters like Al and the "Ultimate Darkness" " who should be interesting, three-dimensional characters " to mere plot devices to push the story forward. For some reason, however, even after all those flaws, the issue remains moderately enjoyable and earns a look at the second issue.

What should be witty dialogue falls flat as Al shows no distinct personality that's unique to her and her alone; everything about her feels like we've seen it before, which severely undermines the story.

Some finales end with a bang, other with a fizzle, but Apocalypse Al goes softly into that good night by finishing as an unremarkable and easily forgettable installment in Michael J. Straczynski's array of works.

All in all, the best character in Bat-Mite so far is Batman, and since he only shows up for a couple of pages, that's fairly indicative of how Bat-Mite will survive on his own.

Even beyond that, the technical aspects can get frustrating. Haberlin doesn't earn the rules of the world. There's no attempt to explain how a formula was found to travel faster than light except for a vague reference to some ethereal database. There are some characters that are just as left in the dark as we are, and hopefully we'll get to see more of them. As they learn more, hopefully we will too and feel more invested in Faster Than Light.

Sometimes, $1.99 comics are a bargain; other times, you get what you paid for. For Mythic #1 you get what you paid for.

On the surface, this is a pretty enjoyable story starring a fan-favorite character; but if you stop and start to actually think about the feasibility of the story and what's happening, it all starts to unravel.

If you're a fan of the original series, it's probably worth a look, but for anyone without knowledge of the source material, take a pass.

Overall, Valhalla Mad seems like a good concept, just a poorly executed one. There's an interesting story here, one that Casey is fully aware of but didn't translate completely onto the page for us. There's just not enough of the characters or their motivations in the issue - they all remain one-dimensional from start to finish - and that ultimately fails to make us feel invested in their quest (whatever that actually is).

Usually, tie-in issues to a larger story serve to illuminate the reader and fully explain the events going on; Birds of Prey #28 essentially does the exact opposite as it sacrifices the current story to set itself up for future ones down the line.

Ultimately, Circuit-Breaker is a book that attempts to satirize a medium and fails to do so because it doesn't comment on it in any meaningful way. At one point, a woman turns around and says, "This place has become a parody. A perverse western stereotype!" That's true, but it's McCarthy and Baker that have made this "perverse western stereotype" by focusing on all the superficial aspects of the medium without really delving deeper into this kind of media. What results is a lackluster story that has very little reason to warrant a second look.

Aside from the few triumphant moments throughout the issue, Convergence: Suicide Squad #2 misses the mark.

Ambush Bug is less of a humorous element than he is an annoyance and distraction from the narrative.

This is one of those projects that you can tell the author has thought a lot about. After reading Dream Police #1 I am convinced that Stracynzski has a complete grasp of the world, its inner workings, and the subtleties that make it special and unique. Unfortunately, none of that made it to the page for us. Bogged down by the high, abstract concepts and ideas, the work never attempts to solidify itself nor to ground itself so we can become invested in the story Stracynzski attempts to tell. For anyone who's a die-hard fan of Stracynzski's work, this one may be for you; for everyone else, you might want to pick up something else.

The main issue with the comic is how inaccessible it is on the first read. You have to go back and reread it several times to get a semblance of what's going on. Usually, there's nothing wrong with having to go back for one or two rereading, especially if you feel compelled to. The fact is, with Intersect, you won't. There's not enough information " obvious or otherwise " conveyed that can be gleaned from the first read through expected of anyone picking up a comic book.

The entire series is best characterized by the final visual: a close up on Damian's face saying "Damn right" in response to a criminal exclaiming "It's Batman!", with an oddly drawn smile on his face, and blood spattering up into the panel without reason. It's uncharacteristic of the Damian we've come to know in continuity, unrealistic in its visuals and dialogue, and adds nothing but a dull end to a dull story.