A resoundingly awesome issue, like few I've read to date.

Holy cow, this issue was awesome. When can I get more?

Amazingly enough, this is another mind-blowing issue from Stjepan.

Just someone tell me what I have to do to get Stjepan to switch this series to a bi-monthly format!

DeMatteis' script, with the dialogue, is every bit as great as Didio's plot here. I won't go into details but suffice to say that this issue packed a hell of a lot of punch than I'd thought it would, and that it is my favourite Phantom Stranger issue to date. Great pacing, great story, great characters, great resolution, nice emotional moments, it has it all, in spades.

This issue could have been a great finale I think. It feels like that well enough. So I suppose it is a good thing that I'l be able to get another dose of the fix in less than a month now so I won't complain!

For my money's worth, this was an excellent comic and I'd definitley recommend it.

Overall, an excellent issue. Can't wait to see what happens next.

Man, all I gotta say is that I'm absolutely loving this series and that I'm definitely a convert.

Overall, this was quite a good comic, and I'm definitely on board for more.

I wanted this to be as great an issue as the first one, but it turns out that it is even better!

Another great issue of the series, and I desperately look forward to the new issue at the end of May.

For my money's worth, King Conan: The Conqueror #4 is an absolute must read.

I find myself ever more fascinated by this series, and I'm definitely looking forward to the finale in a few weeks.

Toms Giorello andJos Villarrubia, two artist that I've really come to love and respect from their work on this series. There is lots of blood and mayhem in this issue and they don't stint on anything. Their art is brutal to its core and it gets across the endgame quite nicely in an awesome battle between Conan and Xalotun, the chief villain here. With all the different characters and the scale of armies involved here, Giorello and Villarrubia do an excellent job of maintaining the various differences and every page pretty much packs a punch of awesome and exciting.

If you are not reading this series, then you are most assuredly missing out.

In short, this was a fan-frikkin-tastic issue and I'm really happy with how Gail has been presenting the series in its entirety. She has continued to challenge my perceptions of Sonja and I've been continually impressed with what she's been doing, and all the artists that she has brought together. I'm really looking forward to her Legends of Red Sonja anthology mini-series, which will be celebrating 40-years of Red Sonja. Fun times!

With #5 next month, we should definitely get to see another big confrontation between Annisia and Sonja. We've seen it once before, and we've seen that Sonja came off really bad there. Now its time for payback, for vengeance.

So it all just means that Gail and Co. delivered another excellent issue in the series, and they are definitely on the roll here. Fingers crossed for next month's issue to be more of the same!

So yes, Gail, Walter and Adriano are on top form here as usual and they close out the first arc rather spectacularly, with a double death, the latter involving a cursory beheading no less.

All in all, an amazing issue that I loved start to finish and don't have any complaints about.

Overall, another stellar issue, if that wasn't already clear from the review! Bring on issue #9!

The story is rather simple at first, but it gains a new dimension about five pages in and from there it goes on to deliver a really excellent experience, proving that this creative team has lots of tricks up its sleeve, and I can't wait to find out more.

Walter's pencils and Adriano's colours are the best that they've ever been in this series. The best moments from the artwork are undoubtedly those dealing with the characters' expressions, specifically Sonja. Given that she is the She-Devil, a warrior without peer, the fact that she loses to Osric so many times really bothers and Walter captures her frustrations and her rage really well. It also helps that his Sonja is inherently badass, and when the gears shift in the second half, he and Adriano really bring all that out into the open once more to show just how great Sonja really is. Honestly, Walter and Adriano could draw Sonja for years and years and I wouldn't complain, not at all.

Yep, another awesome issue from this amazing creative team. How can you expect otherwise, eh?

It is a welcome cruelty, that each issue of Red Sonja be this amazing! And finally, Sonja gets some pillowing action of her own, after longing for it for so long in the series. Great way to end the arc!

Sure, sure, high praise, hyperbolic praise, right, right. But you know what, I definitely loved this issue. I'd never thought that I'd ever read an Archie comic like this. It was amazing on every single level. Frankly, I do want more. Afterlife with Archie #1 is my first Archie comic in some ten years, probably more, and this homecoming has been completely unexpected and… gut-punching.

Other than that, another marvellous offering from Aguirre-Sacasa and Francavilla.

And for the art, well, Francesco Francavilla's art is too good for mere words to describe. His characters' expressions were all top-notch this time and all the scenes he does with the infected people were really good once again again. I wish I could get posters made out of every page!

So yeah, this is yet another awesome issue from this creative team, and I enjoyed the hell out of this one, just as I did the other three issues.

As ever, Francesco Francavilla's artwork is dark and broody and utterly riveting. His zombies are awesome and so are his characters, all of whom are drawn with a soft, careful hand that takes the time to get all the details right. While I'm really missing the cheeriness of the regular Archie comics, I'm still in love with the horror and supernatural vibe of this comic. And that is all on Francavilla. His artwork remains one of the best things about this series, make no mistake.

The issue begins with a solemn intro of Jack and the setting, and it ends on a similar note. Jim makes it quite clear that he has a really epic story in mind for the indomitable hero that I love and remember, with Andy making it clear that he's here to stay as well. If I could fast forward time, I'd already be reading the second issue of this comic, and not wait the painful but requisite month in between.

The way that Jim tells the story, I can't help but feel that there is a big confrontation incoming between Jack and Aku. In any sword and sorcery story, there's always a big bad boss, and for Samurai Jack, that's Aku. In fact, there's a cover for an upcoming issue that shows Aku very prominently so I'm really hoping that we get to see him soon. I'd love to see the big bad boss because Aku is a fun character that you have no choice but to love.

Overall, Samurai Jack #3 is definitely one of the best comics of the new week, and I can say that with confidence because both the writing and the art on this issue are perfectly in sync. Bring on more, I say! And I wonder if the creative team would be up for double-shipping? Man… the possibilities there…

So there we have it. Another stellar issue from Jim, Andy, Josh and Shawn. I really hope that these guys all stick together on this series for a good long while.

Not really much else to say about this issue. I liked it. It was good. It had a good story, and it had good art. Certainly recommended.

Overall, this was a far better issue than I was expecting. The story was definitely a big surprise, and I honestly have zero complaints about it. Zero. None.

Brittney's angular artwork, and her depiction of Jacqueline and Scotswoman fighting together is what really won me over to this comic. Seeing the traditionally male heroes as female heroes is very cathartic and refreshing enough that I honestly want more, as I said above. And Josh Burcham's colours shine through in every scene. If Andy and Josh were a rock-solid team, then Brittney and Josh are even better. I mean, I take one look at the artwork here and I have a mind to get some huge poster prints made out of it.

Samurai Jack #8 is definitely an awesome issue and I really wish that the story was longer!

A fairly good installment in the franchise, this one!

A really great issue. Good pacing. Great story. Great art. Excellent premise. Really neat cliffhanger.

All in all, I'm quite pleasantly surprised with this issue and am looking forward to the next issue!

If you've been waiting on a trade for this comic, then you definitely need to stop wasting time and get on with the floppies program. This is not the kind of series that you want to wait on for that long.

And Pat Oliffe's pencils, Tom Nguyen and Walden Wong's inks, and Sonia Oback's colours really make this issue come alive. Lots of great action here between Selina's lieutenants, though they are mostly B- and even C-listers, but the artists capture them really well. Selina is the star of course however, and she gets the most attention, which is just as well with me. There were a few moments where the art was inconsistent, such as with Selina's face or her chest area, but overall, pretty solid.

But now, now I can't wait to get my hands on the first trades for each comic series and get more familiar with all these characters.

Honestly, this issue exceeded my expectations in all respects and I can't wait to read the sequel issue.

So yeah, another delightfully awesome issue that rocked. Do get it!

As I said, Karl Kerschl is the artist here, with Geyser on the colours with Dave McCaig, Steve Wands on the letters, and the cover by Karl as well. Just to get this out of the way, but I loved the artwork here. Karl seems to be the perfect artist for this title, and he definitely has the whole high-school thing down to perfection. Whether we talk body language or background details or anything else, the art is both vivid and detailed. and it is most definitely not the house style, but something more relaxed, smoother even. Geyser and Dave's colours then bring in much of the horror vibe and the subtle gradations of colours panel-to-panel and the fact that almost all the action here takes place in the night, it is all damn good.

The team is firing on all cylinders as usual and it is glorious.

For all my experience reading comics,, Grimm Fairy Tales 2014 Annual is definitely among the best that I've read to date and I don't really have any complaints about it.

It also helps, overall, that there is a more… human character in this issue as well, a fireman named Coyle. He plays a very important role in the story and its nice to see that Christos Gage moves between him and SpOck quite effortlessly, giving them equal page-time.

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A new hero has entered the stage by the end of the issue, and I can't wait to see what Joe Brusha has in store with him, so it is going to be another long wait till Realm War #4!

Reading this issue, and knowing that there are two more issues waiting to be read after this, I'm really excited to read more about Robyn since I enjoyed her portrayal here. The gender-bending of the classic hero Robin Hood seems to be handled nicely in the context of this particular setting, and it worked for me without a doubt.

This issue might have been late, but I'll say that the story and the art make up for it. I can only hope that these two creators continue on like this.

Igor Lima is the penciller on this issue, with Ruy Jose on inks, Jason Wright on colours, Dave Sharpe on letters and Kevin Nowlan on the excellent cover. I liked the art in this issue, largely because of how awesome and kickass Sinestro looks here, but also because the artists get to have fun with a good amount of members of the Sinestro Corps and seeing them all together like this was a great high. And the character designs, especially when the action takes place on the prison world, are really good too, with lots of fine details and a great amount of diversity between the characters.

A fantastic lead-in to the upcoming graphic novel, and definitely a must read.

Yes, buy it and read it! You really don't want to miss out on this one!

Overall, a great comic that continues to make some serious waves.

Overall, an excellent job by the entire team and I can't wait for #13!!

Steve is the penciller for this issue, with John and Jim (Zub!) as colourists, Marshall as letterer and Zack Davisson working on the back-matter for the issue. Again, the art here was totally fantastic. There's some really nice colourwork in this issue, with colours in the night-time suitably subdued and even a bit muted while the daytime colours are bright and peppy and… noticeable. And, Steve's pencilwork is beyond compare with his characters being properly proportioned, with clear expressive faces and lots of details in each panel. Plus the line-work in general is pretty clean and neat too.

What can I say, another mindblowing issue from a great team.

If there is one thing that I find to be at fault here (and this is not really anything to do with John Ostrander but more with Geoff Johns) is that the ending to Justice League #14 goes unaddressed. It was something that I thought, after reading the two issues again after this one, would tie in to the events of Trinity War at least, and most definitely Forever Evil,so I'm just slightly confused.

Overall, I loved this issue. It is a simple story with some interesting twists. It introduces all the characters very well, even for readers who might be new, and the art rocks.

Overall, another great issue in the returning series!

I really can't say how much I loved this issue and how much I'm loving this series. You all really need to be reading this, especially if you are a Buffy fan.

Now I'm just hoping that things continue along the same vein and that the story gets even better since I'm having a hell of a time with this series right now.

Rebekah Isaacs and Dan Jackson and Richard Starkings and Comicraft's Jimmy Betancourt are back for another turn this issue, along with cover artists Steve Morris who delivers another awesome piece of cover art, with the focus being on Spike fighting Maloker this time. As with the previous issues, I loved the artwork here. Maloker looks threatening and a badass in every panel he is in, and the action scenes are fluid and dynamic as always too. Couple that with the fact that Rebekah has a really good handle on the expressions-work and that Dan's colours are just way too good, and you've got a perfectness here.

This is an interesting start to a new arc with a new art team and I'm looking forward to seeing where it all goes in the next four months.

A strong continuation of the new arc, that's what this issue is.

Overall, this was a fairly solid issue, and I'm all pumped for the beginning of Lemire and Sorrentino's next big arc on the series, The Outsiders War. Should be good fun!

Overall, this was a pretty much perfect issue and I have no complaints. The team has started off the year on a great high.

All I want to say to the creative team is, keep doing what you are doing because what you are doing is damn good.

For this recent Green Arrow convert, this issue was filled with all kinds of awesome.

Overall, I think this is a great effort from everyone involved, particularly editor Sana Amanat who came up with the idea of Kamala Khan and a muslim superhero stepping into the shoes of Ms. Marvel. So, great job all around to them!

All in all, I'm pretty stoked with this issue. I enjoyed Kamala's debut, and I enjoyed her second outing even more.

Overall, another highly exciting and satisfying read from a top-class creative team.

With things heading towards some sort of a showdown now, I'm even more excited than before. This issue was really good!

As always, we have Adrian Alphona on the artwork while Ian Herring does the colours and VC's Joe Caramagna does the letters with Jamie McKelvie and Matt Wilson doing the cover. No complaints about the artwork this time except that the mask that Kamala wears during her first attempt at saving Vic looks entirely comedic and even faked, as if it has been photo-shopped. The problem I think is that the colour just doesn't come off as being natural. Other than that small thing, every scene and page of this comic was top-notch and proved that this entire art team is really solid. And that fantastic cover? It reflects the inner contents really nicely and also the melancholic nature of the story.

There's a new chapter in Kamala's beginning now, and this is going to be a really fun ride!

All I'll say in the end is that I'm really enjoying this series and that this book is one of my favourites. With The Darkness and Aphrodite IX, Top Cow has some great titles out every month and that I can't wait to get to the next issues.

Bring on October and issue #6! The final panel/page for this issue is an absolute rocker and I really can't wait to see what exactly Matt and Stjepan have in store next. It was a really exciting ending and also completely unexpected, so bonus points there!

Overall, this was quite a good continuation of the series and Matt and Stjepan are off to a fairly good start. Bring on #7!

All in all, a great start to a new mini-event from Marvel.

A pulse-pounding issue with some really great moments.

As before, Steve is on the pencils here with Jay Leisten on inks, Justin Ponsor on colours and Chris Eliopoulos on the letters. The visual action in this issue is as intense as it was in the last one. The fight between Yuriko and Kitty gets really messy for one, and the big fight in the second half is also impressive, involving as it does samurai body armour and samurai swords. Steve & Co. are on fire in this issue, and there are lots of little touches here and there that you can miss at first, but then you go back and the connections are all there. The art in this issue is one of the biggest reasons why I liked it.

For the art, Mike Allred is doing the pencils while his wife Laura does the colours and VC's Clayton Cowles does the letters. The art, as I've said, is simply spectacular. It too is completely different what most of the other comics from the Big 2 are doing, especially Marvel in this case, and it is simply gorgeous. Starting with that amazing cover by the Allred-Allred team of artists. Silver Surfer's expressions, Dawn's general characterwork, the impossible sights and sounds of the universe, it was all pretty damn good. And Laura's covers were spot on too. They imparted a very feel-good, fun outlook to the comic.

Overall, a great second issue for a brand-new awesome series.

A great first arc to the new series and hopefully things continue as much for the next few issues.

For my money's worth, Silver Surfer #4 is an excellent issue that I really recommend.

With a really nice feel-good ending, the way is open for some more cosmic adventures and I can't wait to see what's in store!

Which brings me to the final point. I've seen Spider-Ock through Mike Costa, Al Ewing and now Christos Gage. I want to see more of this character. Think I'm finally going to take the plunge and start reading the main series. I'd initially thought to go through Dan Slott's entire run on Amazing Spider-Man before taking up Superior Spider-Man but I kind of don't want to wait for that anymore!

Overall, while I'm not reading Goblin Nation at the moment, I certainly missed a lot of context, but the story here is a great side-story that still works as a sort of one-shot. And the art is great too.

All in all, this new mini-series is off to a great start and I wouldn't mind reading more about these characters!

So for my money's worth, this was a pretty damn good issue, and I'm certainly looking forward to the next one in June.

Just three more weeks or so before we get the finale, and I'm really hoping that it is at least as awesome as these past three issues!

This is a story that succeeds on every single level possible. The pacing is consistent throughout right up until the final two pages when it kicks into overdrive and ends on a really great cliffhanger, something that was touched on in the previous issue but took a temporary backseat to all the time-crossed adventures of Nina and William. The wait for the third issue is going to be really, really long.

The art, as usual is stellar. There's just one major splash page in the issue this time and it is not exactly bigged up, but the way it is drawn still makes it stand-out. And I'm really getting into Lemire's art-style now, combined with his and Jose Vilarrubia's colours. These two guys are really rocking that art boat.

Taken all together, Daredevil #1.50 proved to be quite a satisfying story. It doesn't do anything major, but it offers up some nice cool-down moments and serves well to introduce the character and a measure of his supporting cast as well. If nothing else, get this issue for the awesome artwork alone.

Overall, this was a great issue, whether we talk about story and art. Big props to the entire creative team.

If the rest of the series continues to develop like these first three issues have, then I'm sure that this run of Daredevil too is going to be a long and fruitful run.

All in all, I am very stoked for this new book and it has certainly started off on a grand note.

The ending to this issue is very bittersweet for it reminds us of the relationships that the original four members of the Bat-family used to have, Bruce, Dick, Barbara and Alfred. Man, I wish we could get more scenes like that. All in all, definitely a fairly good continuation to last month's debut.

Wonder how things are going to go next month, with the inevitable confrontation between Matron and Dick.

Overall, this was a fun issue, even though it was a bit confusing in the beginning and the art isn't always clear. Looking forward to reading the second issue!

For the art, we have Michael Walsh on the pencils, Matthew Wilson on the colours and VC's Clayton Cowles on the letters, same as last time. I mentioned in my review last time that the art team was especially good and the stylised artwork worked really well for me with the characters involved. That continued this week as well with the new issue. The pencils are still good, and so are the colours. I really love how simple and yet elegant Walsh's pencils are, and how vibrant Wilson's colours are. These two are most definitely a good fit for the title, and I want them to have a long run on this title.

With some great dialogue and story, coupled with some great art, Secret Avengers #3 is definitely a great issue. The only drawback? No MODOK!!!

Another one-shot style issue that can be read as the first issue into the series, but the full awesomeness isn't apparent until you start from the first issue, which you really should!

As before, Michael Walsh does the pencils while Matthew Wilson does the colours, VC's Clayton Cowles does the letters and Tradd Moore does the cover with Matthew Wilson. The art in this issue was a bit more on the sombre, shady, dark, indistinct side than it usually is, and that kind of made me didn't enjoy the comic as much as I usually do. And given that the script itself doesn't have all that much of its traditional humour in place, it means that the artwork is even more sombre in relation. There are some really good moments here, such as Modok's expressions, which are just too awesome. Or the bottom panel sequence of Hawkeye practicing his archery which are rendered really nicely, or all of Maria Hill's character-work in its entirety.

Overall, Natasha has seen a great outing with this issue and I'm definitley around for a few more. The second issue is supposed to shit out in 2 weeks, which means that the title is going to double-ship this month just as with some of the other new launches from Marvel, so not long to wait!

Needless to say, this was pretty much a perfect issue.

What I really liked here was that Edmondson finally brought in SHIELD, and with a mission for Natasha no less. This book has had an espionage feel to it from the get go, and its nice to see that Edmondson is taking that one step further and actually connecting the character to the larger Marvel-verse. And, Maria Hill! I love Maria Hill

Overall, a fantastic issue that furthers an overall story for the title, and also furthers Natasha's own personal story too.

And when it comes to the art, I'm really not sure what I can add. I mean, the art is awesome as always, no criticism comes to mind. Phil Noto has been spectacular and this is a continuing trend. If I had to stretch, and a stretch this is so keep that in mind, I'd say that some of the scenes with Natasha and her French contact are not coloured “properly”. By which I mean that their faces are too white. Or just pasty white. Or something. Point is, their faces aren't coloured “realistically”.

Edmondson ends the issue on a rather philosophical note as Natasha muses on what she is and who she is, and going into the next arc of the series, it is a nice moment to end this arc on, wrapping everything up. Can't wait to see what the next story brings to this series.

All in all, a fantastic issue that proves why this series is damn awesome.

So what all that means is that the new Captain Marvel #1 is a great issue and that I do recommend it. If you're not following any Captain Marvel comics, like me, then this is a good place to start.

Overall, this was a fairly good issue, but could have sure used some more work. But in the meantime, I'm loving the jukebox tracks.

A slightly better issue overall than the previous one and a good, fun read that is also quick. I enjoyed it.

A good strong continuation of the ongoing storyline that finally comes back to the start of the first issue and we see how things are going to play out from here.

Another awesome issue, marking the end of a great beginning for this new series.

David Lopez and Lee Loughridge continue their excellent run on the series with this issue, and pretty much the entire issue featured some really outstanding work. The problems of the first couple issues are now in the past and the art team has put its best foot forward now. The expressions-work, the character-work, the interplay of colour palettes, the sheer scale and awesomeness of the action scenes, it was all superb.

This is a great issue for this new series, but it is a little too static for my tastes. The best thing here is definitely how well Rocket is a foil for Carol and Kelly Sue writes both characters really well.

I was already a fan of DeMatteis and with this issue he's given me even more reasons to think he is one of the best. Not to mention, now I definitely want to read the entirety of his run on Phantom Stranger. That's what a good comic should be all about, and DeMatteis and Co are right on top of that.

With this issue, we continue see the events of Forever Evil: Blight unfold. DeMatteis is building up a really interesting mystery here and I can't wait to see how that works out well with Ray Fawkes' Constantine in a few short weeks. Should be extremely fun!

Overall, a great chapter in the ongoing Forever Evil: Blight arc and I loved that the Sea-King got to be badass here for a few moments and I'm rather excited where the story goes next.

The issue ends on an amazing cliffhanger that finally shows where the rest of the original Justice League Dark is. Zatanna, Madame Xanadu, Black Orchid and Frankenstein have been missing since the events of Justice League #23, which marked the end of Forever Evil, and we finally learn their fate. I loved that ending.

Overall, in the wake of Forever Evil: Blight, it looks like Justice League Dark is still going strong and I'm all for that.

The cliffhanger in this issue is pretty damn WTF, but in a good way, so I'm definitely interested in seeing where the story goes.

Still, not a bad issue after all. In fact, it is one of DeMatteis' better issues by far.

Pascal Alixe and Vicente Cifuentes are on penciling duties here with Pete Pantazis on colours and Carlos M. Mangual on letters. The art has a very rough quality to it, but it is undeniable that the final result is pretty striking in itself. There's some internal inconsistency though (kind of very small, but it is there), and I think the overall result could have been better. Still, I loved it, to be honest!

It is really interesting that so far, while Michael has established Cyborg-Superman's connection to both Supergirl and Superman, on both a familial and genetic level, he has yet to actually name the villain as Cyborg-Superman. Kara has given him that moniker as a way to understand what he is. I'm certainly looking forward to what Michael does in Supergirl #24 and what role the villain plays in the Forever Evil event.

So yeah, I'm having a blast getting back into the Buffyverse with the two main series. Couldn't be better!

As a one-shot package, this is a good issue. Some really nice characterisation of Orm and some backstory on him as well. To use a common parlance, this is a 75% show, 25% tell kind of story, and it largely works.

Now all my hopes are on incoming writer Jeff Parker, and I hope that he brings the same daring style to the book that Geoff did. That's all I ask.

Overall though, I'll say that Aquaman is in damn good hands right now.

With the way that this issue ends, I'm really looking forward to how things pan out in #28 later this month. Should be quite fun!

The issue ends on a 1-page subplot which is like an epilogue to the whole thing. It serves to set up the upcoming Rise of the Seven Seas crossover that will happen soon enough between Aquaman and Justice League, something that I'm really looking forward to later this year. The dialogue on this page was a little stiff, but I liked the thrust of it well enough. We shall see how future issues pan out, but for now, I'm quite happy where Aquaman is going.

With this issue, Jeff proves that he is more than a match for Geoff's past excellent on the title and that he is going to stick around for a good long while. And I can't wait to read the next issue now, knowing how the big bad villain is for Aquaman in this current arc. Want more immediately, particularly since it looks like there are events happening over in Swamp Thing which have some effects for Aquaman as well. Exciting!

Overall, another satisfying issue, although there's still a hint of something missing from the title.

There's still more to go to this whole thing and I'm off half a mind to just go and read Charles Soule's relevant issues of Swamp Thing, so that's a huge plus there I think. Plus it seems like things are really beginning to heat-up at Triton Base and that Coombs is gonna be back very soon.

Jeff Parker has continued to redefine Aquaman has he sees fit after considering many different options, and Aquaman #32 is one of the best examples of that.

Overall, this was one of the best Villain's Month issues, and I look forward to more goodness from Gail from next month once The Movement and Batgirl resume their normal run.

Ultimately, the bottom-line is that John Layman has given me yet another reason to love his work, to keep reading it. He has been fantastic on Detective Comics and he is fantastic here. This is definitely an issue I can see myself reading again and again for the amusing portrayal of events. Definitely a thumbs-up from me.

Joelle Jones is the illustrator here, with Nick Filardi on colours and CRANK! on letters. The fantastic artwork is one of the big reasons to read this issue, because Joelle has a great way with facial expressions and body language that you don't get to see often. Each character is drawn distinctly and with lots of details so you are never confused as to who is who, and the monster is also drawn rather well. Wasn't really expecting the monster to be as it is, but it works I guess. A good, decent challenge for Rikard, with the action sequence being amazing.

Overall, I'm quite satisfied with how this issue turned out and this comic is definitely going on my pull-list.

The art team also gets double-power with Riley Rossmo and Colin Lorimer on the art duties with Jim Cambell on the letters. It would have been nice to have had a breakdown on which pages were done by Rossmo and which were done by Lorimer. There's an obvious shift in the art style in the second half of the issue, but I'm hesitant to say that that's the only place where the art shifts. I couldn't really tell if there was a shift in the rest of the issue, so I'll just say that overall, the art is pretty amazing. The characters are very expressive and you can really feel their emotions, whether we talk about their sadness or their indignation or their anger or their rage or anything else. The scenes with the monster are also good ones, whether we see it post-capture or Laney's first encounter with it. I definitely had fun.

Overall, a strong sequel issue and one that I hope heralds how good the next few will be as well. To the creative team: keep up the good work!

The pencils in this issue are by Fernando Bald with colours by Nick Filardi and letters by Nate Pieko of Blambot. Gabriel and Matthew Wilson are on the fantastic cover there. The art in this issue was as great as the story itself. Poseidon feels like a dangerous place at every turn and the monster designs by Bald are also evocative of the completely alien nature of the planet. His characterwork is also on point and with the might of the great Nick Filardi's colours behind him, Deep Gravity #1 really does stand out in the end. Some of the inking here and there felt a bit heavy, and some characters' facial expressions felt a bit incomplete here and there, but all in all, solid word.

Excellent work that I would like to see kept up in the future.

Fernando Bald's is back on the artwork with Nick Filardi on colours, Nate Piekos of Blambot on letters and the cover by Gabriel and Matthew Wilson. As mentioned before, this issue is quite the claustrophobic one and the characters are all fidgeting about it all the time. Fernando did a great job with the body-language and with the general characterwork while the same could be said of Nick for his own tasks. Their monster design is also fairly ruthless and shocking and awe-inspiring, which is the kind of thing that I was really looking forward to on this blasted cursed land.

For a series that I did not know was starting off this week, Dejah of Mars #1 has definitely proven to be quite awesome, and I'm really looking forward to more soon.

Overall, a very satisfying issue that puts Elektra right up there in the big leagues.

In the final tally, I definitely recommend that you go and pick up this book. It is worth it, and now I'm going to go and pick up the issues for the current arc, as written by Buccellato.

So far, I have to say that of the 5 Villain's Month issues I've read so far, The Flash #23.1 is undoubtedly the best I've read. Originally, I was going to give this issue a 9.5/10, which is a pretty high rating from me, but then, I just couldn't help myself. I'm giving this issue a full score because of two things: “KNEEL BEFORE GRODD” and “I AM THE MASTER OF ALL I SEE”. Two fantastic bits of dialogue and so bloody natural in the script.

I loved it. And I highly encourage you to check it out.

Good read and definitely among the best I've read this month!

So, all the little things aside, The Flash #26 ends up being a really good read and as long as the art issues are worked out, I'd love to see this creative team again.

Not as great an issue as the previous ones that Brian has done with Francis, but a good issue nonetheless.

Overall, another good issue of the series, and I am really looking forward to the conclusion next month.

Overall, I was expecting this issue to be much better, and Buccellato didn't quite meet my expectations, but he still ended his run on a high note, and that's enough for me.

All the same, I think this was the best Forever Evil event issue so far, and I can't wait to read the second issue next month. Its going to be a long wait but well worth it!

So, another strong issue from Brian and team, and I'm still fully onboard with this mini-series. Just slightly concerned where Brian is going with all of this though, considering where the team ends up on that final page, and what happens to them. That had me scratching my head a little since it appears to conflict with what's going on in Peter J. Tomasi's Forever Evil: Arkham War right now. We'll see next month I suppose!

Overall, Forever Evil: Rogues Rebellion #4 is a good issue, but I wish that there was more actual relevance to the events of Forever Evil and that the Rogues were doing something to actually combat the Crime Syndicate rather than being on the run all the time.

Overall, a great issue that picks up from some of the deficiencies of the previous issues and sets the stage for something really fun.

Overall, I'm mostly satisfied with this issue. It gave the team a nice send-off, introduced a cool gay hero/villain in Pied Piper, and it really brought the team together. Plus the art!

Traviss' first issue contains lots of characters, whether good or bad, and while it is nice to see such an ensemble cast, sometimes it was easy to get lost in it as well since the characterization of particular characters never really gathered steam. I love seeing Scarlett in a leadership role within the team, and the same for Tomax as well since I mark him as a real smooth manipulator of people, but I wanted to see much more of them. Hopefully, as the title develops, Traviss is able to focus more and more on the characters.

The FCBD issue also includes previews of the Dark Queen and the Robyn Hood one-shots, which provided some nice context of the overall story and, once again, have some decent artwork. All I can say is that I definitely want to read more of this event, and that I will be checking out the Grimm Fairy Tales Annual 2014 when it is released.

So yeah, a pretty damn good start to this new phase of Grimm Fairy Tales and also a great jumping-on point for new readers.

Great start and where things go from here should be fun!

With the art, we have Marcus To on the pencils with Ian Herring on the colours and Deron Bennett on the letters. The art isn't really all that remarkable but it gets the job done and all the characters and scenes are drawn well too. I don't really have any complaints about the artwork. In a standout moment, we get to see how the interface for YourLife, the social network presented in the comic, looks like and how an influential user like Nick Graft, the aforementioned co-owner of YourLife, can affect things with a simple message. The message certainly does not need any verbal translation. The art does all the work there quite beautifully.

In a final summation, I'm quite happy with this issue. It is quite a bit better than its predecessor, which is what I wanted and what I got. The only real negative of the issue is that we don't get to see much of Sirine and her problems in Tunisia, but hopefully that changes for the third issue, given the ending here.

Overall, a fantastic issue, better than the last one.

The final twist, it is a bit nebulous, but I liked what it seemed to portend and I'll take that for now.

Series regular Chad Hardin is the artist here, with Alex Sinclair on colours John J. Hill on letters and Amanda herself on the cover with Paul Mounts. As I've said, Chad Hardin's art didn't often rub me the right way on the main series, but with this one-shot he has done something much different and he's made it an issue worth picking up for the art alone. His Harley is much more restrained in her antics this time around and that allows the artist to really focus on the characterwork. Sure, there are some inconsistencies in Harley here and there, but such are too few to really make a difference towards the negative side. For the most part, Chad gets Harley right and his interpretation of Joker is great as well. Plus Alex Sinclair delivering some amazing colours as usual, which is not a surprise at all!

With this issue, you could say that my interest in Harley Quinn has been renewed and that I'm really looking forward to the next installment of the mains series.

There's just one more issue to go for this crossover, Superior Spider-Man Special #1, and I can't wait to see how everything ends.

Now, the only thing I'm wondering is when we are going to get more of this kind of an issue, something with personal stakes and an exploration of Nightwing and Batgirl's relationship like this.

For my money's worth, Rai #1 is an excellent comic and you should definitely be getting it.

So a good follow-up to the first issue, and I am doubly excited for the next issue, which can't arrive soon enough for me.

As a one-shot, I loved this story, and would really like to see Kazuko get some more screentime, either in another one-shot from the same creative team or in the main ongoing series.

Loved this issue, and definitely want to read both more Age of Darkness and more Robyn Hood!.

Neil Edwards is the artist here with Terry Pallot as inker, Chris Sotomayor as colorrist and VC's Cory Petit as the letterer. I liked the artwork here. Edwards' Wolverine and Jubilee are both excellent though there can be a bit of inconsistency here and there. The action scenes are also handled well and you can really get lost in them, or at least I did. But then, I'm a sucker for Wolverine and Jubilee, so that could be it too. And as for the inks and the colours, no complaints there either, esepecially with Chris who is one of my favourite colourists in the industry.

And that's the point isn't it? I had fun reading this issue, and I think I'm definitely around for a few more, as long as they are consistent. I loved this. Takes me back years to the really good times. Won't argue against that.

Overall, a very satisfactory issue. The only place where I think it doesn't quite match up is in addressing what Sinestro is doing in Geoff Johns' Forever Evil book, given that he is one of the members of Lex Luthor's Injustice League in that big and is going up against members of the Crime Syndicate. And the issue doesn't deal with the happenstance of Sinestro and Parallax's previous… association. Sure, it is a lot to add in for a debut issue like this, but I would have liked to see some addressal of it nonetheless. We shall see!

I'm really hoping that the only way for Cullen Bunn & Co. to go from here is go bigger and better.

The pencils in this issue are done by the Sharp Brothers, with colours by Andrew Elder, letters by Neil Uyetake and the colours on the cover by John Rauch. The artwork in this issue tends towards the familiar and the simplistic, but the execution is still superb. And the Sharp Brothers realize the television characters really well, though there can be the occasional moment where the character-work doesn't match up. But that's fine, really. And the colours by Andrew Elder are superb all the way through. In true Star Trek fashion, the overall feeling is very upbeat, so that's good.

In closing, I just want to say that this photonovel/comic was quite an intense experience and that I'm definitely onboard to read more comics like these, and hopefully IDW is successful in this endeavour.

Pretty damn good first issue I'd say, though it could certainly be better. But for now, I'm firmly in the “Storm is awesome” camp.

Jim Terry is the penciller for this issue with Sean Dove doing the colours and CRANK! doing the letters with the cover done by Chris Brunner and Rico Renzi. Looking at the cover, I wouldn't really pick up the comic, but the fact that Tim Seeley has written it, makes it worth the pick-up in the end. And then you start turning the pages, and you find out that there is more to this than appears on the surface. There is a very rough-edged quality to Jim's pencils and Sean's colours are dark and mesmerizing and horror-like. Goes without saying that the art contributes really well to the tension of the story and they work together perfectly.

Highly recommended, this issue!

At this point, I just want to say that I want to see more of these characters from Mike!

For my money's worth, this issue was really good, and I'd really recommend it as a stand-alone issue you can read out of continuity.

This is a great story and I'm certainly curious to read more!

Phil Hester is the artist here with Eric Gapstur on inks, Kelsey Shannon on colours and Deron Bennett on the letters. The issue is crammed full of some great typical artwork from Phil, with his trademarked sharply-defined characters. Plus he draws a really great Barry, whether in suit or out of it. The character's look has been one of the biggest draws of the show for me, and it is nice to see that reflected so well in this issue and in such a way as well. I certainly loved it all, especially he nice contrasts and compliments of the colours with the artwork.

Don't think too much about it, just go and get the issue. And if you are a new reader, then definitely go pick up the previous issues!

It may not have been as good as the previous issues, but The Movement #5 is still a strong issue in most respects.

All in all, an enjoyable issue, but not as good as the other ones. Which is just fine, since the others have been really good so the series is still among the best (or near-best rather) comics for me right now.

Overall, highly entertaining and an issue that bounces back considerably from the slight slump of last month's issue. Great to see that the slump was just a minor blip on the radar.

As for the ending itself, in the next issue The Movement will finally have a crossover with a character that I've been wanting to see in this book for quite a while and I'm really excited about it. One hint: wheel-chair. That's all that needs to be said I think. There are some great potentialities here with regards to how this character will interact with the team, particularly Moth, and I can't wait to see it all.

The issue ends with a really interesting cliffhanger that ramps up the seriousness of the story-arc and marks an interesting possible change in Batgirl's status quo, and even for The Movement itself. Given what they are about to do to Batgirl, I'm expecting a big story in the next issue.

All I can say is that if you have been missing out on this series, then you've been missing out on something great and unexpected. Its too late to save the series from cancellation, but I hope that you all pick up the trades and support it that way.

Still, the interior work is what matters most to me and that part is excellent. With their penultimate issue, the team members remind us what the story has always been about and they show the incredible promise of what we will be missing once the series comes to a close next month. Sadface I am.

Either way, The Movement #12 ends on a great note and it features the best of what the entire creative team could give us, building on everything that has come before this. This was definitely a great issue to bow out on.

Will the new Thor's identity be revealed in two weeks? I dearly hope so! In the meantime, definitely get this issue. It is a must-read.

Overall, I liked this issue. It was surprisingly good and really makes me want to go back to read about Peter's death, which is kind of morbid in a way after reading this issue.

So, first issue is off to a great start, and I'm really looking forward to the second issue next month.

Reading this issue, I honestly want to really get into reading more Valiant Comics. Ninjak and Eternal Warrior are ones that I'm particularly interested in.

So yes, overall, a fantastic read. Some of Livewire's dialogue felt a bit off, and the story jumped up a bit towards the end, but this really was a great issue.

Its awesome to see how well Matt and team have wrapped up the first arc of the series. At least, I think this issue marks the end of the first arc. It feels like a natural ending, and that's what matters I suppose. Bring on the next issue I say!

So, a good enough issue this month, although I was indeed looking for more substance here.

Armor Hunters #1 surprised me with how good it was, both story and art, and Unity #8 carries on very well with that as its predecessor. I am now more excited than ever about this new phase.

With a slightly more promised focus on Bloodshot for the next issue, this issue ends on a great note, and I can't wait to see what's going to happen next month. Things are getting really interesting now and Armor Hunters is turning out to be one hell of a ride.

If the second and then the third issues stay like this, then I'm sure that this series is going to be a long one!

As before, Berkenkotter is the penciller with Dennis Crisostomo on inks, Jorge Sutil on colours and Rob Steen on letters with Terry Dodson turning out another beautiful cover. There are a few panels where Berkenkotter's characterwork suffers because of unlikely body proportions, but in the main, I loved his detailed pencils. And also the fact that he has put in some nice subtle touches such as the Mark of Lilith on Vampirella, which charts her progress in becoming a proper vessel for Umbra. And the colours and inks are both solid all the way through so no complaints there.

Patrick is once again on pencils, with Dennis on inks, Jorge on colours and Rob on letters with Terry on the cover art. I've remarked before about Patrick's creature designs, about how good they are, and it all applies doubly to his character design for the Leptirica, whch was excellent all the way. Kind of a shame that we didn't really get to see much of this Vampire rarity, but what we do see is quite great. The second half of the issue is also great, particularly in how Patrick and the others draw the Nosferatu.

Steve Epting returns for pencils in this issue with co-conspirators Elizabeth Breitweiser on colours and Chris Eliopoulos on letters. I remarked up top that the artwork here was fantastic, and that is certainly true. This issue is a riot of colours given that the festival being celebrated in Monaco is the Carnival of Foots where people dress up and wear masks, so the art team's imagination runs wild here. And Velvet herself is portrayed quite beautifully, and in spite of all the finery, Epting and Breitweiser let Velvet give a great account of herself in a close-up fight.

In short, another great issue of this fantastic series from Image, definitely among their best titles by far.

I may have fallen off reading the Warlord of Mars, but damn, this issue really makes me want to get back into the swing of things!

Overall, a good start for what will hopefully be a long-lived series!

Overall, the comic is still in the decent range, and it still shows a lot of promise. Hopefully, it will improve even more with the next few.

Overall, while there are still a few things that I don't like about this title, it still has far more positives than negatives and I remain hopeful as ever that these are ironed out soon.

Gail Simone and her art team strike once again and this time it is a home run.

Nicols is the penciller here with Juan Gedeon on inks, Michael Atiyeh on colours, Michael Heisler on the letters and Brian Horton on the cover art. As I've mentioned before Nicols' art can sometimes lack detail and that's certainly true here, but a lot of his panels in this issue are just stunning. My favourite is the collage page which has polaroids from Lara and Sam's trips all over the world after they met at sometime in college. Nicely captured. And Nicols' action scenes are impressive as well. Of course, Juan and Michael A. also get a lot of credit here for the inking and colours, their work being very complimentary to Nicols'. Plus, that cover by Brian is just stunning. The best cover in the series so far, I dare say!

In this issue we see that Lara's friends Reyes and Jonah have followed her on to Yamatai and that they are intent on helping her out any way they can. And at the same time, we finally come full circle with the ending of the game itself and learn the mystery behind the artifacts that Lara is supposed to have had but didn't, and which was the impetus behind the events in the first couple issues. There are a lot of twists in this story and I loved every moment of them.

New characters, new mysteries, no psychopaths. Fun times. Business as usual for Lara Croft, Tomb Raider.

This is a good follow-up to last month's issue and I'm looking forward to learning the identity and purpose of the villain who is hunting both Sarah and Kaz.

But, all things considered, I had fun with this issue. I've already re-read it a few times and it holds up to multiple readings. Small things jump out constantly. I'm definitely onboard with the new creative team. They just need to get the kinks worked out here.

For my money's worth, this was a pretty damn good comic, certainly one of the best of the week.

On the art side, this was another stellar issue. My only problem with it was that some of the character poses were just that, poses. Sara and Kate appeared to be doing modeling poses or something in some of the panels and that all felt just completely at odds with the tone of the comic, given that this is a horror/supernatural book. So that's that. And I've finally warmed up to the glossy style of the artwork, so I'm liking it a lot. I can't wait to see more artsy goodness from Laura Braga in the next few issues of the comic.

Overall, another great issue from the creative team, and now I'm doubly excited about the next issue.

I'm quite happy with how this arc has turned out and I'm hoping for more of the same, at the least!

For an anniversary issue, Witchblade #175 hits all the right notes for me, and is certainly the absolute best issue of the series under Ron Marz since his return to the title last year. When do we get more?

Joe Bennett is the penciller here, with inks by Jack Jadson, colours by Jim Charalampidis and letters by Deron Bennett. For the most part, the art reflects the characters as they are in real life on the show, but occasionally there are panels where that's not the case. However, it all balances out in the end because Joe has a great sense of action and visual pacing so he moves the reader through the story in short order, all the while presenting one kickass scene after another. The inks by Jack are a bit heavy, but quite appropriate for the most part, and the same goes for Jim, who presents a more generally upbeat tone to Starling than I'd thought to find here.

Issue #3 really can't get here soon enough and it sucks that I have to wait an unnecessary two weeks for it. I want to read it now!

For the main story we have Joe Bennett on pencils and Craig Yeung on inks. For the backup, we have Szymon Kudranski on pencils. The colours and letters for this issue are by Jim Charalampidis and Deron Bennett respectively. As before, the art is pretty consistent for the most part, and I like that solidity on this title. Nothing really stands out this week, but the backup with Brother Blood packs quite a punch I dare say. Still, there are quite a few splash pages here and each one is awesome in its execution.

Very odd choices to make, and makes me question whether there was any communication between the Geoff/David Finch team and Tomasi/March.

Overall, I loved the dark vibe to the issue. James builds on everything that Scott Snyder did with the Court in his first eleven issues of the New 52 version of Batman and what he has been doing in Talon as well. And all the mood developed by the artists totally rocks things as well. Given how this issue ends, I really want to catch-up on Talon now, and see how James furthers that title within the context of the ongoing Forever Evil event. If there are any negatives to the issue at all, there's only one: the first few panels are slightly inconsistent in terms of pencils.

Overall, I'm quite impressed with this one. I wasn't sure what to expect from the title since I didn't really know anything about it before I dived in to this issue, but the experience certainly bears out and I'm looking forward to the second issue.

The first issue of the series focused on the characters more than it did on the setting, and I found that be a good approach, though I was left with a desire to learn more about the world, this Dreamscape that the protagonist Joe Thursday inhabits. And lo behold, JMS delivers on that very thing with the second issue. The characters don't take a backseat to the setting here, but JMS weaves it all together much more strongly so that the cohesiveness of the entire issue is that much better. Besides, with everything that happens here, there's no way that I couldn't be impressed.

A really fun intro issue that makes me want to read David and Fabrice's Spider-Man: Noir series.

The story connects with Spider-Verse right at the end of the issue, reminding that there is a larger story at work here, and I'm looking forward to seeing how it all fits together.

Overall, a good solid start to a new series that I hope continues and gets even better.

So, in a nutshell, James Robinson and Co. are continuing on with their solid start to the new series, and I can't wait to see what happens next.

Overall, not as great an issue as the previous two as far as the story is concerned, but this was still pretty good.

As far as I'm concerned, this issue rocked, though I think that the fight sequence was dragged out a bit too long and it is weird to see Jennifer Walters aka She-Hulk in a different costume than the one she has in her own solo-title right now.

Now that we know how the team is beginning to break-up, James Robinson's various bread-crumbs are beginning to become obvious and I am ever more excited for what is going to happen next. Amazingly enough, Fantastic Four has double-shipped this month, and I find that really interesting. Perhaps something major is happening next month? I'm not really current with news, so we shall see in about 2-3 weeks!

Apart from a well-written comic, Justice League of America #7.4 is also a well-drawn comic. And there are definitely no negatives to it. Nothing I picked up, at any rate.

With next week's release of both Justice League and Justice League Dark, I'm hoping that some of the questions are answered. And that over time the larger storyline is streamed out.

Overall, this brand-new Spider-Man series is off to a great start.

I'm still liking where this is all going, but I think I'm ready to see more about the villains.

Things are heading for a big showdown soon, and I can't wait to see what happens in the next issue!

So yes, DeMatteis hits another home run with this issue and the Forever Evil: Blight crossover event is developing rather well with all these character-driven stories.

So overall, a damn fantastic issue. There are some references to previous issues of Constantine and Pandora, but I don't think that those are absolutely essential reading if you are trade-waiting or something. Phantom Stranger and Justice League Dark are perfectly paired up however and I would suggest reading both right now.

Overall, this was a nice decompressing issue, and hopefully this will be a short crossover so that we can get more and more such issues.

Interestingly enough J. M. only did the story for this issue while Len Wein did the script. I sure hope that this doesn't mean that the former is leaving this title because his run has what made this into one of DC's best titles for me and I don't really like Len Wein's comics all that much. Some of the dialogue in this issue does feel forced, and I can kind of see Len Wein at work here, so this issue wasn't as good as I'd hoped, but I do have to say that it was far better than most of other work I've read by Len Wein.

So, not as great as the previous issue, but still a strong offering!

DeMatteis paced this issue very well and he has begun the resolutions to several ongoing arcs, so this issue is definitely among the best he has written, especially with the ending, and the artwork is definitely among the top-tier that this title has seen to date.

Overall, quite a good issue, certainly better than last week's!

I liked that there was a clear division of all the subplots in this issue and while it can feel a bit too much at times, the story threads are weaved in well enough that this is not a problem. For now. So in the end, a fairly good issue, one that moves things forward and even provides a lot of context for the intervening years between the events of this series and what is happening in the rest of DC's various books.

Another great issue and the series definitely gets points for consistency this time.

So, not quite the awesome I was expecting this time, but my interest in this series is still high.

As quick as the pacing of this weekly series is, I kind of wish that things were even faster. But then I suppose, I'd have to wait a few weeks and then just read the series in big chunks. But can't do that since I want to stay current, so that's that. This is definitely one of my favourite new series of 2014, by a good margin.

With all that's going on, it'd be easy to get lost, but you are holding up rather well I must say.

The ending makes it quite clear that things are about to get worse for everyone involved, no mistakes and I'm most definitely along for the ride.

Patrick Zircher is the main artist on this issue, with colours by Hi-Fi, letters by Taylor Esposito and the cover by Ryan Sook as always. As much as I've enjoyed Scot Eaton and Aaron Lopresti's pencils in this series, I've enjoyed Patrick's work as well and he really delivers a home-run for much of this issue. The only deviation happens in Michael Holt's storyline, where the style kind of changes and it is as if there was a secondary penciller here, but there are no credits. And as ever, Hi-Fi's colours are top-notch here, which isn't much of a surprise anymore.

As I said, the art is by Aaron and Art, with colours by Hi-Fi as usual and the letters by Taylor Esposito, with Ryan Sook doing the cover. The art in this issue is really good and there are lots of subtle panels here and there which add to the overall effect. You can blink-and-miss a few things, so it is important to take a careful look at each page, to see how the story is being developed visually as well as prose-wise. Definitely among the best issues in the series as far as the art is concerned and that's no idle claim, not at all.

Good stuff, and I'm looking forward to next week's issue.

The pencils in this issue are by Jesus Merino, with inks by Dan Green, colours by Hi-Fi and letters by Carlos M. Mangual. I loved the artwork in this issue. It takes me back to the awesomeness of Future's End #2, which is the best issue of the series (by a small margin actually). But should I be surprised? Jess Merino did the artwork for that issue as well! Every page here was pretty damn awesome, and I loved Merino's characterwork for Voodoo, the Stormwatch-SHADE trio and for the final arc in this issue, the future arc. And not only that, but I think that the inks and colours were also best. The issue flows together very well in terms of the visuals and every page has something great to offer.

Cully Hamner is the artist here, with Hi-Fi on colours and Ryan Sook on cover as usual while it is Taylor Esposito's turn this time on the letters. I don't think Cully has done an issue of the series before (I could be wrong) but I have to say that his art totally fits the bill here. His aged Green Arrow is fantastic. His Big Barda is fantastic. His Red Arrow is amazing. And so on. He even gets the chance to draw a lot of the prominent heroes fromEarth 2, giving me an even bigger kick of nostalgia than I'd thought I'd get! So many characters, and his style fits them all. The same can be said of Hi-Fi as well, but by now that man has already done twenty issues of the series and is an old pro at this by now, so no complaints there.

Patrick Zircher is the artist here, with Hi-Fi, Carlos M. Mangual and Ryan Sook on their usual duties as colourist, letterer and cover artist respectively. The cover for this one is damn awesome, but unfortunately has nothing to do with the contents of the issue itself, which is a distinct disappointment. Where the internal art is concerned, it is great, as it usually is with Patrick on this title. His Madison is a little weird at first, and the same goes for Jason, but as the issue moves on, he really seems to get in the groove and draws the rest of the cast of this issue really well, with more-than-fantastic colourwork from Hi-Fi, especially with all the different lightning effects and all.

Caliban #1 is a comic that I started reading because of that (very) intriguing cover, done by Percio. It hints at what the story is about in this issue and it provides the horror framework that is at the core of this issue. But really, it is the story that is the best part of the whole thing. I didn't expect to like this comic as much as I did, and I'm really glad that things turned out for the better.

As with last time, Percio is the penciller here with Sebastian Cabrol providing the inks, Hernan Cabrera providing the colours and Kurt Hathaway providing the letters. In a slight bit of improvement from last time, the artwork in this issue is much more detailed and atmospheric than before. And the best scene is definitely the splash page with the scene showing off the alien cargo hold, with all the preservation canisters. Another would be the scene I mentioned above with regards to the lamprey-octopus. Now that was a fun page, you can be sure of that.

With such a strong performance in issue #3, this series has a good future.

This is a great start and I hope it continues that way!

After Gail and Ethan's great opening run on this title, the next installment is going to be courtesy of a different team altogether, and after the ending of this, I can't wait to see what's in store next.

Another great, lovable issue. I want more of this Wonder Woman.

The art by David, Wendy and Saida is as great in this issue as with the other teams on the previous issues. David's style is fun and playful, and Wendy's colours really get across that too. Often there is a limited palette of colours on any given page, but this is still a great-looking comic. The simplicity of the story is reflected in the simplicity of the art, and truly, this issue couldn't have been better in any way. Almost. There are a few panels where the characters aren't as well-portrayed as they could have been, in relation to how they've been drawn in the other pages, but that's minor really.

Marcus To is the penciller here with Andrew Dalhouse on the colours and Deron Bennett on the letters and as with the previous issue, Gene Ha is the cover artist here as well. To's pencils are great in this issue, especially in the first half with Wonder Woman's body language and her expressions. He shows Wonder Woman to be a restrained warrior, someone who can clamp down on her emotions well, and that's a subtle touch that I appreciated. The other stories have been about Wonder Womans physicality from the get go and that's not how this issue goes, so this was welcome indeed. The second half deals more with physical action, and is a bit mundane, but great nonetheless. The final page has some interesting things going on, especially in light of the story by Cohen and I'm not sure if it works a well as it is meant to, but I'm open to further exploration of that.

The art team is the same as last time, with Marcus To on pencils, Andrew Dalhouse on colours, Deron Bennett on letters and Gene Ha on the cover. In this issue, there is far more use of unnecessary white-space since, especially early on, the panels aren't slotted together properly and don't match up to the screen-size either. Beyond that though, good work all around. A bit too much shine on the colours in some places, but that's really it for the negatives, since overall this is a fairly solid team, and if it gets time to do some regular comics, then I'm sure the results would be much, much better.

The art in this issue is by Dean Haspiel, with colours by Allen Passalaqua, letters by Saida Temofonte and the mind-blowing cover by none other than Adam Hughes himself. As I've said, the art is rather cartoony and it brings to mind the old cartoons and the early days of Superman in the pages of Action Comics. That's a good thing I think, since it keeps the spirit of the series alive and also manages to be a surprise at the same time. A double benefit as it turns out. Dean's Wonder Woman and Deadman are definitely warriors indeed.

Other than though, excellent effort all around. Can't wait to see what's in store next week!

Coffin Hill #1 is not a great first issue, but it is a fairly good one and I will definitely be tuning in next month for the sequel.

So, in closing, quite a good second issue. If it continues like this next month, then Coffin Hill #3 is sure to be another great issue.

So yeah, great story, great art, but not-so-great cover. All in all, Coffin Hill is still a pretty great comic.

So yes, overall, one of the best issues of the series, Coffin Hill #4 is. If there is any major criticism I have of this issue, its that I don't get what the first page is about at all. I'm confused by it.

Overall, quite a damn good issue and I'd certainly recommend it. Sam Alexander and Uatu convert here!

Overall, the story is off to a great start, but the art isn't, and is going to need some significant improvements as time goes on.

Some good bits to this issue, but some bad ones too, although it has gotten slightly better than the previous one, if it is nowhere near as good as the #0 issue, which was by a different creative team altogether.

It is really great to see that Jason Aaron is now really getting comfortable with the plot and the characters. The first couple issues were a bit hit and miss but this new issue is pretty much a hit all the way. I loved the way that he paced the story and how he portrayed some of the characters, especially the Orb, who is just plain freaking weird.

If this is how Original Sin is going to continue on, then I think that it will definitely be a fair bit better than Infinity as well!

As before, Mike Deodato excels himself with his pencils, while Frank Martin's colours add a lot to the overall experience as well. The expressions on all the characters involved, especially Nick Fury himself, are top-notch and I certainly can't fault the comic for any shortcomings in the story that are inevitably reflected in the artwork. And I'll admit that is super-awesome to see Nick Fury as a complete badass, standing in space on a very, very small asteroid with a giant sniper gun in his hand. Quite" heroic, I'd say.

With Mike Deodato's pencils, Frank Martin's colours, and VC's Chris Eliopoulos' letters, this issue is yet another example of some great artwork in a piece that focuses on as many characters as this issue does. The art is gorgeously detailed and Deodato's pencils and inks really shine through once Martin's colourwork makes a pass on it all. The whole dark and shadow feel of the series is very much evident and is just another way in which everything is subtly hinted at, as has been the case all along thus far.

All in all, this was a decent issue, but the thing is that Aaron has dragged out the mystery for far too long and we still don't really know what the "Original Sin" is. There are lots of different things here that could be "Original Sin" but there is just too much uncertainty here. Hopefully the finale will clear it all up and Aaron is able to redeem himself at the end! Just one more issue to go!

A fairly good ending, right about on par with last year's Infinity, which I loved.

Overall, in all respects, All-New Invaders #2 is a better issue than All-New Invaders #1. Can't wait to see what James Robinson turns out when he begins to hit his stride on this title.

I'd say that this series is off to a fairly good start. The particular numbering doesn't make sense, given the events that happened in The Amazing Spider-Man #700, but I'd say that's the only real criticism of this issue that I can offer, aside from the enjoyment factor. Looking forward to the next issue.

Overall, great issue, and I'll definitely be reading #700.3 soon.

Peter is back and this is going to be a great time!

This is turning out to be a really good title and I hope it stays that way!

The art for the most part is pretty great, better than a lot of other comics I'm reading, by far, and it definitely keeps you interested all the way, which is no small feat for a book like this. The only downside here is that Ramos' Black Cat is a bit out of proportions at times, and also very weird-looking. Other than that, the pencils in general and the inks and colours were spot on.

Javier Garron is the penciller here with Romulo Fajardo Jr. on colours, Saida Temofonte on the letters and Clay Mann on the cover with Romulo. The art here is much different to the DC house style being a bit more shiny and flashy for one than the regular Batgirl comic before this. I didn't mind it so much, but it did kind of jar. Still, I loved Romulo's colours quite a bit, and the differences between all the heroes and villains were nicely highlighted too.

Batgirl Annual #2 (2014) isn't quite the story I was expecting, but it ended up being quite good even if I had some trouble understanding some of the events and the dialogue. It is nice to get a standalone story for this series, considering all the crossovers that have happened recently, and that's the true value of this book. Anyone can pick it up and dive right in.

Overall, Batman: Eternal is off to a great start, and I'm definitely looking forward to the next issue next week. Should be fun!

Still, what matters is that this was an awesome story and some quite awesome art. Just a few improvements here and there to make this even better.

What can I say? This was another great issue and I'm even more excited about this series now.

Decent issue at best, but a huge step back in the quality nonetheless. I can only hope that the future issues are better.

For this reader, the overall package proved to be quite a good one, despite some of the missteps made, and I have to say that after having read the recent annual and now this issue, I'm definitely in the camp of people who like Doc Savage comics.

The art team is made up of penciller Stephen Mooney, colourist Jeromy Cox, letterer Carlos M. Mangual and cover artist Andrew Robinson. The art team is a bit different from that of the regular title, and I found that a bit jarring in the beginning. Especially since Mooney's Helena and Dick are very different to how well Mikel Janin has portrayed them, but still, his characterwork is almost on point throughout and the colours are also good. Again, a bit too bleak, but easily digestible in the end.

The art here is by Martin Coccolo and Aaron Lopresti with colours by Alex Sinclair, letters by Dave Sharpe and cover by Billy Tan and Alex Sinclair. Martin and Aaron are both among my favourite comics artists and it is nice to see the two of them collaborating on an issue here. Their art styles are complimentary and to be honest, I didn't even notice an art shift between the two! Maybe a little bit, but that's all.And Alex Sinclair, well, Alex is a great colourist and this issue has some of the artist's best work.

The issue leaves you with a lot of questions, but then that's a good thing since it provides the narrative hooks for a reader to come back for the next issue, which I will be!

Quite a decent second issue, although I was hoping it would be better. Still, I'm enjoying this.

Overall, I'm quite impressed with it and this is a series that I definitely want to continue reading.

This could have been a better issue I think, but I'm still happy with this one.

In the end, all I'll say is thanks to the creative team and the editors and everyone involved for doing something like this. It helps break the regular cycle and its a good switcheroo.

Nothing else to say really, except that I'm waiting to see how this comic continues on and that this is definitely going on the pull list.

New Suicide Squad #1 isn't a bad start to the new series at all, and I'm hoping that things really do get better and that we get to see more of a look-see on all the different characters. However, this isn't as new-friendly as it could be since Waller's fall from grace is never really addressed and you get dropped right into the action.

I likd this first issue, but it could certainly be better, and I'm still waiting for there being a strong hook to keep me interested for the next issues as well.

Todd Nauck is once again the main artist here, with Rachelle Rosenberg on colours, VC's Cory Petit on the letters and Jamie McKelvie on the cover. More than the previous issue, I loved Naugh's art in this one. It is much more vibrant in terms of the pencils, and it offers up a lot of interesting mysteries as to what is going to happen. Basically what we have here is page after page of some of Nauck's finest work, although this is only my second issue with him in that position. Part of the element of vibrancy in this issue are the colours by Rosenberg, and she shows here why she is one of the best in the industry. I certainly had a ton of fun with all the artwork that now needs some tweaking.

For my money's worth, Origin II is a great start. Its not the best it could have been, and some things felt underdeveloped, such as the Lone Wolf, but overall, this was a solid read.

After reading this, I definitely want to hunt down a DVD or something of the show and start watching it.

Bryan Q. Miller has started off with this new arc on quite a high and I can't wait to see what's due next week.

Roberto De La Torre is the penciller here with David Baron on colours and Dave Lanphear on letters and the cover by Travis Foreman. De La Torre's art is often very busy and full of inking, lending the overall story a rather dark aspect that is not easy to shake off. Combined with the inner darkness and pain of the protagonist, that makes the story seem bleaker than it is, but I have to say that it does work well in the end precisely because of that. David Baron's colours also contribute in that regard and in the final tally, the art here is indeed quite good.

If you want to jump in on this series, this isn't all that bad a place to start, but I would definitely recommend that you start with #19. And even read #17 and #18, written by Ray Fawkes as a fill-in due to a temporary screw up at DC, since they set up some of ongoing things. Trust me, you want the full experience.

And finally, Alex Garner just rocks with the cover art. The one for the previous issue was pretty damn excellent and so is this one. As a friend said, it subtly references the Batman: A Death In The Family one-shot from yesteryears, the issue that saw Jason Todd being murdered by the Joker in cold-blood. This one is a really great piece of artwork and I hope that Alex has a long and fruitful run on this title.

Overall, excellent issue and a great start for the title in the new year.

Other than that though, this was a pretty interesting issue, and I'm looking forward to more.

All in all, a pretty damn good issue. It isn't the same level of awesomeness as the Wanted arc, but it comes pretty damn close!

Overall, this story just didn't work for me at any level, though it was somewhat nice to see Barbara fight a bona-fide monster. Marguerite Bennett is a decent writer, but she just doesn't have the same kind of facility with the character that Gail Simone has.

So much to love in this issue and it is pretty much as awesome as Gail's previous creepy story two-parter that involved the Ventriloquist, issues 20 and 21 if I recall correctly.

All in all, a pretty good issue that reads really quickly and juggles a lot of things really well. Just needs some smoothing over in context to the other Bat-books is all.

Of course, once Helena Wayne enters the picture, it is pretty much a given that she is going to end up fighting Barbara, which makes some sense as Barbara mentions in her silent monologue, and those action scenes are really something, both for how Fernando Pasarin draw's Barbara's face and how he executes the beat-up. At times his characters are a bit too tall and thin but thankfully that only happens in an odd page here and there. The inks by Jonathan Glapion and Matt Ryan are really excellent here, as are the colours by Blond. And yes, Alex Garner delivers another rocking cover for this series, so really, the art was almost perfect here this time!

I am really sad to see Gail and the others leave the title, but they had a grand time together, and that's what this issue is all about!

To sum up the new issue, too many changes too fast.

Regardless, I liked how the issue ends where it began, coming full circle. This is definitely a must-read for all Man-Bat fans.

Overall, I'm very disappointed with this story. The good parts were not enough to outweigh the bad, sadly. And it definitely is not worth the $7.99 price tag. Detective Comics #19 was a far better issue and celebration in pretty much every single way.

All in all, Gothtopia is turning out to be great and I agree with the sentiment in certain places that I'd love to see an animated adaptation of this story. It could be really good, I think.

I'm sad to see Layman's end on Detective Comics coming to an end because I've genuinely loved what he has done on the title. But at the same time, it is also nice to see that he is going out on a high note. And Aaron Lopresti's stay has also been a fun one.

Overall, this was a good solid issue that promises a lot of things and provides a nice enough twist at the end to bring the reader back for the next issue.

Last month I mentioned that the cover to Detective Comics #30 was one of the trippiest I've seen ever for a Batman comic, and I thought that it couldn't be topped. Then I saw the cover for this morning, and my jaw dropped, because top themselves the creators did. Francis Manapul has turned out a stunning over here, make no mistake and it quite nicely represents what happens in the comic later on, just as what happened with the previous issue. Nice bit of foreshadowing and hint-dropping. And I mean, just look at the colour gradient down the cover. Excellent, excellent stuff. Doesn't get better than this, not at all.

Right now, the pairing of Rucka, Lark and Arcas is definitely a great one. All of them know what kind of a story they want to tell and they are telling it, without any kind of major drawbacks. Now for the month-long inevitable wait until the next issue arrives!

Generally speaking, I liked this issue. It is mostly well-paced and each story is interesting to some degree. But, I didn't appreciate that there was so damn much going on. I loved the wider look into how the Family operates, how it treats its Lazarus, and so on, but I think that this is one issue that could have done with being a bit longer. Say, add another 4-5 pages to it. Because it felt short. It felt as if the story ended just when it was getting into a certain rhythm.

Overall, I'm a bit meh about this issue. It was decent at best.

So overall, another good issue in the series. Rucka and Co. are definitely going strong with this one.

Plus, I really enjoyed the cliffhanger. Pretty much perfect and hints at what's going to happen in the next issue, next month.

With interiors from Francesco Trifogli and colours by Cris Peter, the art is once again quite decent. Given that the setting etc is all rather dark, a bit on the grim side, the colours don't really match up since they are quite cheery and even a little bright. Some shadows and dark colours would improve the artwork since then it can all match up with the story being told. Trifogli's pencils can sometimes feel uneven, with a lack of polish, but they are largely consistent, which is an important thing. There are flaws in the artwork, sure, but I like it all the same.

Overall, all I can say really is that I'm really, really looking forward to the second issue of the series, which will be coming in at the end of next month. Too long a wait for me!

Regardless, this was still a pretty fun comic, and I might even re-read the whole thing when I do my read-through of Jonathan Hickman's Infinity soon as that's all done with, so it does have some re-read value, and that's often an important thing.

The cover here is by Genzoman, and unfortunately, it makes my case for me as far as the internal art is concerned, which is done by Leandro Oliviera. And the problem is that the characters have unrealistic dimensions. I mean, just look at Seoni's arms and torso compared to her massive legs and her humongous boot. It is just not natural. In the internal artwork, this problem pipes up again and again and goes for all the heroes. It is distracting and takes away from the entire experience. However, the colours were quite nicely done, handled by Ross Campbell. There's a bit of overall roughness to the artwork but since the cliffhanger was a good one, I didn't mind these deficiencies all that much, though I would love to see improvements over the next couple issues.

On account of the art, it was largely the same as before, though there were some good improvements nonetheless. For one, the characterwork is better, since last time I had problems with the body proportions on some of the characters, and the general expressions were better as well. But the art still feels a big rough, once you factor in Ross Campbell's colours. There's an unfinished and unpolished quality to the artwork that I can't quite shake off. But at the same time, the action scenes were great, especially right at the end and Leandro Oliveira builds up the visual tension and anticipation really well, so that is something.

Overall, a nice promising issue. I'm hoping that things improve on all fronts as the series progresses. Some of Ewing's dialogue is a bit stilted and formal, veering into typical villain dialogue, and that should really go, I think, although that might depend on his humour angle for the series, given Superior Spider-Man here. And Land's artwork, yes, some improvements definitely needed there.

A fairly decent issue all told, but there are still some hurdles to cross. I'm going to stick with the series in the near future, and hope that it gets out of all the Infinity madness soon, so we can get to how these characters are all going to interact in more… normal circumstances.

With the first arc over, I'm hoping that Al Ewing can take the story off in its own direction and create a really separate Avengers team in all respects. One that feels more relevant than all the other high-profile Avengers books.

Overall, a decent first issue that promises some interesting things for the series. I want more.

I applaud Marco's artistic choices, but I also wish that he would tone it down for future issue, so what's happening on the pages is that much clearer. And Ales Kot seems to be in a good place here with the character and story, so I'm looking forward to him exploring more of that in future issues.

Like I said though, this is still a pretty fun comic to read and I'll definitely be tuning in for the next issue. So stay tuned yourselves!

So far, I'm really liking where this series is going. If the few kinks can be ironed out, all the better.

This review has had a fairly negative tone, so I just want to say that despite all that, this issue was a fun read. Its not everything that I hoped it would be, but it comes close, so I'm willing to give it a pass in that context.

Overall a good start I think, and I'm definitely on board.

Overall, quite a good issue and just the slightest bit better than the first one. Bring on #3!

I don't know. I had a hell of a lot of fun with the comic. Its cheesy, its simplistic, but it does exactly what it says on the tin and it entertains.

Overall, this was a fairly solid issue, and is the start of the larger story. I expect the next few issues will be along the same lines and continue to build on Sonja. None of the stories here are from Sonja's own perspective which does well in creating a sense of mystery around the character. And that's something I enjoyed. Looking forward to next month's issue!

I have to say that overall, this was a much better Marvel Knights title than Spider-Man, which had some really trippy script and really, really trippy artwork which while innovative just ended up being confusing. I definitely liked it much better, significantly so.

I'll have to say that Revel and Peter surprised me a bit with this issue, given how good it was and I'm hoping that they continue on with this streak in the remaining three issues of the mini-series.

But just generally, I have to say that I didn't really like this issue all that much, and that I would like to see something more substantial in the next couple issues.

The prologue is drawn by Norberto Fernandez with Juan Santacruz drawing the main story and Steve Mannion doing the backup. Challenging Studios does the colours on the prologue and the main story with Paul Mounts doing the same for the backup story. Bill Tortolini is the letter on everything. Taken as a whole, the artwork in the prologue and the main story is good, with the latter being especially good, but the backup story doesn't have good art at all. It is far too stylised and the body proportions often appear to be out of whack. Not to mention that the expressions on the characters really didn't work for me. Still, its not all doom and gloom since Juan's work is excellent by far and that makes up for the deficiencies, plus the fact that Paul Mounts' colours are excellent on the backup. Mostly.

Overall, this was a decent issue, and I'd like to see more from the team, if possible.

Either way, I'm liking where this is all going. Oh and the cover, eh, it could have been better. Has zip all to do with the story other than making Inara look a bit subservient to Mal, which she has never been as far as I recall.

Still, this was a good decent issue and I'm open to reading more.

Overall, a pretty damn good issue, which leaves me hungrier for the next one than I was before reading this one. There are rumours of issue #5 being released later this month, which means Superman Unchained double-ships this month. I can only hope that is true!

A great installment, and I definitely look forward to the sixth issue this month. If there's any major downside to this issue, its that Lex Luthor and Jimmy Olsen are completely absent and that particular subplot is left completely open and hanging.

Overall, I certainly wasn't a fan of the issue. Scott and Jim can both do much better work han this, and that is what I want to see in the series. Sadly, with only three more issues to go, I doubt anything is going to change.

To sum up: definitely get this issue, but be warned that, as a friend pointed out to me on Twitter, Trigon has a fascination with Rosemary's Baby and this may not be palatable to everyone. So if you are put off by the some of the satanic aspects of Trigon as a character, this issue might not be for you.

Worth a read at least, lots of promise and potential.

This was certainly an interesting issue, and I think that I'm going to stick with the series for the short term. See how it all develops and then go from there.

Loved it, I fell head over heals for this comic. This issue was Harley at her best, in whatever context you deem fit to talk about. I want more of this kind of perfect blend of silliness and humour mixed in with the trademark goofy Harley/Joker action. Jimmy, Amanda, and the entire army of artists have done a fantastic job here, and I can't wait to see the “results” in next month's issue.

Overall, not as plain awesome as the zeor issue, but still fairly decent, all things told.

This could have been a really good issue, but it unfortunately falls far short of the mark and that is somewhat depressing, given the high hopes that I had for it.

Still, all in all, I liked this issue. The story was better than the art, but it was still a better issue than last week's and that's good too. We also get some small amount of characterisation for a member of Harley's supporting cast, so that's another plus for this issue.

Overall, not as satisfying an issue as I was looking for, but it is still decent. Some good twists in the story here.

Overall, decent at best, but hardly required reading for the main story.

Overall though, this doesn't quite feel like an event comic. There isn't any hook to bring a reader back for a second issue, but as with any event comic, one the story gets its hooks into you, you are going to come back eventually. So hopefully the second issue improves significantly.

Still not fully sold on the whole thing, but willing to give it another go.

Any problems that I had with the issue were largely those related to the scripted narrative and not with the art. Regardless, this was a good one-shot and if you are looking to jump on to reading Marvel comics with this issue, or want to touch base for Inhumanity for next year, this is a good place to start, all things told.

Overall, decent enough story with decent enough art. I'd like to see more but I'm not sure if that's gonna happen.

This could have been a great issue. In fact, John Ostrander would have done well to tie-in this issue with the ongoing Forever Evil and tell what The Others are doing while Aquaman is missing, presumed dead. That would have been a far better approach since the story could have been left genuinely open-ended. The way things end here, its just disappointing.

All in all, this was a great issue and I certainly would recommend it!

This could easily have been a better issue I think, but it wasn't all that bad, and it did give me a hook to return next month for the next issue, so that's something.

A fun comic. It remains to be seen whether this will be solicited further for next week given recent developments.

So that's really it. This was a decent first issue, but I want more out of it. I want more jazz, more rock, more metal.

This issue didn't deliver on what I expected from it and it was a regression from the previous issue. I'm hoping that the third issue next months improves significantly.