While there are parallels to the classic Age of Apocalypse storyline, Age of X-Man: Alpha stands on its own. The creators have a reverence for much loved eras of X-Men lore but aren't scared to step out in different directions either. This is a world building issue, a primer for the things to come. While some may find the pace too drifty, or the urgency a little absent, it's all in service to the story being set up. I was apprehensive that the last thing the X-books needed was another reset, another new direction, or a further departure, but the creative team have changed my mind and left me eagerly anticipating what's to come.

While consistent in message and theme with other 'Age of X-Man' releases, NextGen #01 isn't exactly of the same quality. The definition is somewhat lacking, there's not enough distinction. Besides familiar feeling events, separate this book from one that could be occurring in the Marvel Universe proper. What Brisson does well is make the interactions feel real. The story's underlying strength is the bond the principle X-men hopefuls share. After two very potent issues, NextGen felt like a bit of a breather and remains a worthwhile read with or without the other Age of X-Man titles.

A smart parallel to Bishop's role in the original Age of Apocalypse storyline shouldn't be unmentioned. In the scope that Age of X-Man is reaching for, this title debuts with a decent first issue that takes a detour from the utopian society and earns points for showing you something different within an all-new, all-different world. An easy and entertaining read that can hopefully build further across the next four issues.

If last week's NextGen title left you a little blank, this will thrust you back to where you were before. A great effort from, all things considered, a relatively new creative team that carries themselves like this comics thing is an old hat. Fun and human in equal measure, get them on the main title (or any main title) when this series concludes, because they have the makings of a reliable, solid, perfect fit for the X-universe.

A consistent second entry into this multi-part event that doesn't sacrifice story for spectacle and still delivers both. With each read of Age of X-Man, I'm eager for the new entry and to explore other corners of this universe.

This storyline (Age of X-Man titles) is giving a host of new writers the chance to shine and stake their claim in X-Men history. On the strength of this, I hope that Leah Williams gets a chance at the regular book. This could have very easily been weighed down by its themes and direction but it forges forward. A good first issue that I have the feeling might grow to become the highlight of the Age of X-Man crossover.

While it doesn't distinguish itself from a lot of sci-fi/fantasy work out there right now, Ascender still reads incredibly well. The mish-mash of ideas, writing style, and art style, really shouldn't come together as well as it does, and it propels the book along in entertaining fashion. Not just for fans of previous series Descender, a surprisingly accessible read that welcomes new fans with open arms.

If Assassination Nation were a movie (and it is, but the recent, similarly titled, film is not the same thing) it would be a gloriously violent romp through hitman tropes. If it were a video game, surely rockstar games would develop it further into criminal mayhem and hours upon hours of bloody fun. But Assassination Nation #2 is a comic book. One that delivers as much of the above as a film or video game could. A gleefully violent, sharp-witted, comedy-infused, good time with big bangs and sharp turns.

In the best possible way, every issue of Assassin Nation has been utter carnage. Issue three is no different and continues the gleefully deranged doses of massacre and mirth in spades. It speaks volumes of the creative team that, in a comic where basically everyone is expendable and anything can happy, theres always one more shocking moment to enjoy and raise the bar for the next issue.

Avengers: No Road Home is refreshing in its simplicity and is written by people who have a real affection for superhero comics. Sometimes that's all you want from a comic book.

Tom King's Batman run has a massive fan following and it's clear that he's a writer with a larger plan rife with interconnecting threads. Like his whole body of work, his best in this issue is brilliant and his worst is on par with Heroes in Crisis.

Tom King pulled out a Houdini like escape that not only rescues the most meandering and questionable moments of the Knightmares story arc but completely justifies all of it. The art work is poetry in motion. While his entire run has been littered with peaks and valleys, this issue soars above and sits amongst his best issues on this run.

Everything from plotting, pacing, art, and psychology steamrolls through this issue. As the new arc begins, detractors of the previous 'Knightmares' arc should get a lot of satisfaction as King switches gears and moves through a different kind of narrative. Some will call this typical Bat-god, some will draw comparisons with the way a man named Frank once wrote the character. Whichever side you fall on this is a brutal, behemoth of an issue.

It has some shocking moments, and some non-linear narrative you'll either get or be confused by. But the characterizations of the Bat family are a little off here and the dialogue isn't exactly a strength of this issue. It might represent a low point after a very solid first part of this arc, or it might be a sign that Tom King's run needs an injection of a new direction. Still, he managed to steer the previous Knightmares arc home strong, so there's no need for alarm bells yet. Janin's art is as excellent as always and Fornes has been a revelation since joining the art team.

Like this finale's desert setting, the "Fall and the Fallen" feels built on a foundation of sand, and while there have been several narrative oases to keep things moving, hopefully King and company will move to some more fertile storytelling ground with their next arc.

Fan service doesnt always have to have a negative connotation. When you can do it at this high of a level and have fun in the meantime, how can that be bad? This trilogy deserves much love for how well its weaved two very different franchises into something that feels so perfectly suited. The art is strikingly distinctive and conveys all the energy of Indy roots, Saturday mornings, dark knights, and bat mania. The writing is instantly engrossing. This is the beginning of a perfect way to cap off a fantastic trilogy.

This is one connective piece of a larger, continuing story. But as a self-contained issue, the manic pace interspersed with the police investigation pointing to Tim work well to make this an entertaining, if not in-depth, read. Nothing slows down the cracking pace, not the explanations, set up, or dashed efforts, and you get the clear sense that something's afoot. There's more than enough to draw any reader in. On to the next issue.

I didn't know what to expect before reading this, but whatever those expectations were, consider them shattered"in a FANTASTIC way! This may seem like wall-to-wall insanity, but it's an absolute party full of ideas that I'm all in for hanging around and seeing what more madness they develop into. A nostalgia trip that'sdone in a completely original fashion. Nothing is explained to you and it makes everything all the more exciting. Give this book a read if you want something completely different to everything else on your stack.

Your classic prison break storyline gets its decoy riot scene moment, but as visually laid out by Adam Kubert it packs more of a punch than Steve does in this issue. The adrenaline, excitement, and pure emotion are so ramped up they're palpable. Although this issue reads quickly, you may as well read it twice"you won't be able to put it down.

It's good enough without hitting any truly great heights. The disjointed narrative didn't work for me as much as it did in the last issue and the beats lack the punch that they should pack. But it's all set up with (hopefully) payoff all coming next issue. Heist stories are fine, and you expect them in a Catwoman story, but this issue feels a little too run of the mill.

This issue has shed a lot of the fat of the previous one and focuses on intense action and celebrity flash. A gorgeously drawn, fast-paced race that will leave you out of breath. There's not much more to it than that, but it works all the same.

The quality of this book transcends genre, publisher, and our current times to become a complete reading experience. Whether you've read issues prior or this is your first taste, this book is pure quality. Jason Aaron's guiding hand has been the perfect first touch to entrust the newly licensed character with. Marvel is really succeeding with the titles that it's taking different turns with and this sits comfortably, if not slightly above, Immortal Hulk and Daredevil as the company's must-read titles. With work this great, it's no wonder there's four other Conan titles on release.

By Crom is it good! For quality writing that gives you battlefields and internal explorations rendered by artists who relish working on something different do not go past this title.

Saying each installment of the series goes from strength to strength is selling it too short. At the rate, this title continues to improve it's destined to go down in comic book history as a monumental tenure on a property. The level of creativity both Aaron and Asrar, and the entire creative team have for the character is boundless. The psychology vies for dominance over the brutal and glorious action. Past creators who found fame working on Conan would be proud of the way Aaron carries the torch forward.

More a collection of questionable WWII skits than an issue with a solid narrative or arc, Cosmic Ghost Rider Destroys Marvel History #4 jumps around without contributing anything solid to the overall arc or the title character's mission. It ticks the box of spending time in a key period of Marvel lore, but it neither explores any key moments in the character's history, or even make us laugh along the way.

Everything about this issue has the makings of another classic run to add to the annals of Daredevil's proud history. Even the parts of the book that re-tread more familiar parts of the Daredevil mythos feel fresh, either because of the pitch-perfect writing or the stunning art.

Firing on all cylinders, the creative team delivers a granite, body blow of an issue that will one day sit as much aside true grit storytelling like Gotham Central, as much as it will co-exist with Garth Ennis' Punisher and Tom King's current Batman run. If you aren't already reading this title, you can either run to your local store and rectify that now or report to confessional and repent. You're missing out on a quality book.

Zdarsky, Checchetto, and Gho lay out something cinematic. But not widescreen cinema as the term usually pertains to. This is 70s Scorsese cinema. This is 80s Abel Ferrara, back alley, dim lit grit. Its the closest this book has been to Miller since Miller. Every creative team seems to rise to the rich legacy of Daredevils creative history. This is only issue four and this creative team have seen, called, and are raising everyone else at the table.

I cannot be more in love with this comic right now. The creative team is just getting so much right on every level. Its only fitting that theyve achieved this level of quality by abandoning fear and exploring the psychology of the character. Even if the finer layers of the writing go over your head, the action will keep you hooked. The art is pound for pound some of the best pages youll see on the stands this month.

Strictly from a storytelling point of view, you will not find a greater exploration into the layers of characters and motivations then whats being done here. Whod have thought freeing Matt Murdock from the shackles of Daredevil would tell us so much about the character. This isnt fanfare, bombast, or big ideas. Not yet anyway. This is a rock solid set up and character investment that really sets the stage for a great, explorative story to come.

Daredevil #8 opens with charm and becomes ultimately engaging as the ideas discussed take center stage. While the last few pages don't maintain that consistency, the story arc and this issue itself does a great job of picking up were previous arcs have left off while still allowing the reader to explore the character of Matt Murdock up close, personal, and through a different set of shades.

A near-stellar first issue that's sure to shoot to the top of your pull list. While the Vampire genre has some strong entries in recent comic book history, Dark Red sits comfortably among the best. It offers fresh takes and creative ideas delivered through an angle we've rarely (if ever) explored characters like this through. There are respectful nods to its influences, thought-provoking philosophy, social commentary, and action in large doses. Sink your teeth into this book, it's guaranteed to get your blood pumping.

If this issue doesnt get you with its intelligent take on the political state of the world, then the vampire lore and characterization will anyway. This started as a great basic premise that is quickly evolving into a fantastic series gushing with new ideas and blood pumping action, twists, and turns.

Save your comparisons to Garth Ennis Preacher. This series is only in its nascent term and has still found a way to say something all on its own. Whats more, is the effortless way it shifts between a small story and a sprawling epic. At only issue three, the lead is totally engaging, the story is completely enthralling, and the blood runs free. Raise a glass of crimson and toast to a brilliant, fresh, series.

Dark Red's character work and story beats will take you on a journey from laughs to some truly tragic and provocative themes. Is this a book with something for everyone? Maybe not. It really straddles the line between an entertaining read and something more grim. But if you're game for all this, Dark Red #4 definitely has a lot for most readers to relish sinking their teeth into.

Perhaps it’s not the fault of the book itself, but that the zombie genre feels as though it has increasingly little new to say. For what it is, DCeased is great without being an outright triumph. Taylor's writing overshadows Hairsine’s solid but inconsistent art. The characterizations and character moments make the book and most of the shocks still land. But with no lasting consequences, this book still shuffles across the finish line as an entertaining, but disposable, romp.

This is a title that will never take its foot off your throat. Even after achieving mainstream success and recognition and winding down its last epic Love Like Blood storyline. Like a tried and true hip-hop clich, it's on to the next one. The desperation of this issue seeps from the ink on every page. The genuine interaction and attention to detail between Saya, Quan, and the nefarious Kenji are a delicious feast of crime storytelling. There is heart and humour spread throughout too, just to show you how capable it is of twisting your emotions into controlled submission. If you're looking for a strong issue of such a tightly-created comic book, issue 37 certainly is it.

Even when serving up jumping on points (in the middle of an arc no less), Deadly Class does not take it easy. The combination of rich, deep, storytelling with art that reads like nothing else is beyond captivating. The Kings Dominion feels like a real place whose students and walls all have real stories to tell. The whole package captures the time period setting so completely you would be excused for thinking it was produced in the '80s, were it not for such cutting-edge storytelling. Read this book at all costs.

Despite all the grabs for ascendency and Machiavellian movements that transpire this issue, Deadly Class #39 feels like a quieter moment before a storm comes blowing through. You can sense that these are all just chess pieces being moved around and into place ahead of the deadly game you just know is coming between Marcus and the rest of King's Dominion.

Three tales of hijinks and daring do, police work and bad guys. Yes, please! Everything about this debut issue has the right balance of fun and edge. Equal amounts of iconic, classic designs and modern style. This is stripped back pure comics from the era of the comic strip that proves there is still a place for it in the world of blockbuster events.

It's more of the same that made the first issue work so well. Not flinching in the face of absurdity one bit. Dick Tracy Forever #2 even ramps up the obscure and weird and the issue works all the better for it. Throwing Nazis, corruption, plotting, scheming, breakouts, heists, and hard-boiled detectives who lead with their fists. Avon Oeming captures the wonder and action of the character every kid should fight to be in the ultimate game of cops and robbers.

Don't expect anything other than signature Allred pop-art and a good time.

I couldn't believe this was only issue three; midway through the story, I felt so familiar with the characters and their journey, I thought I'd been reading this title for a long time. It's a very easy, entertaining read that will tug at the heartstrings and extract a range of emotions from the reader. Although the art was distracting for me, I'm sure I was in the minority and it never does a disservice to the story being told. I can't wait to check in next issue and see where the adventure has taken us next and I'm intrigued to know more about the salacious new crumbs this issue feeds along the way. Forget what I said in this review's opener. If you're not reading DIE yet, get up and add it to your pull list now!

Black Crown continues to put out books of a high standard of quality that aren't like anything anybody else is publishing. Eve Stranger is the closest thing to a mainstream book it has but it still feels unique and innovative. The art is out of this world fantastic with so much mass-appeal and the story is the written version of that. It's got intrigue, character, action and clever wit. Like a pill that guarantees creativity and adventure in healthy doses, you'll be instantly hooked.

Not a typical first issue with a bang, nor the type of work fans of Azzarello would be used to. There are touches of his previous work, but this is Azzarello doing something completely different. Does it all work? Not yet" but it's heading into some interesting directions.

I wanted to love this issue, but I had to settle for finding a lot to like amidst some missteps instead. There are some big moments and bigger ideas, and the things working against them don't completely undo what's great. The suspenseful and "ha!" moments really land. Keen to read on and take this as a necessary piece of larger, enjoyable read.

This was a great issue and one hell of a good time. This issue exemplifies everything a Fantastic Four comic should be but goes beyond just ticking boxes. Could this be a sign that the creative team is about to kick into a higher gear? If this is the standard to expect from the title going forward, then here's to Dan Slott surpassing his Spider-Man tenure.

Yeah, it's still good. There's a fair bit to like, but overall this issue was kind of uneven. It does well to not force the War of the Realms crossover into it, but it kind of destabilizes the molecules of the smaller stories that this issue really should have been about. Despite the involvement of the big-bad-company-wide crossover, this issue continues to shower love on the heart of the Fantastic Four. Family.

The fact that this is nothing new shouldn't surprise anyone but the story is presented with such visual flair and solid storytelling that you have to wonder if this the storyline that will drag Williamson away from being such a polarizing creator and finally allow him to run on his own two feet. A lot to love and it looks like more to look forward to.

Luckily for readers and the big picture, The Flash #72 is simply stunning to look at thanks to Howard Porter's show-stopping visuals, and despite its flaws keeps racing onward in an entertaining fashion.

A classic Spidey rendition. Art and writing that will make your heart smile and thump in equal measure. If you like the way All-Star Superman made you feel good, this title does the same for Spider-fans. So much to enjoy and not much to dislike. I don't envy the person who must drop a Spider-Man title from their pull list this month. Whatever you do don't drop this one, it really is the best of the best in the spider-family right now.

A beautiful book full of serene moments and imagery and unique pacing. Strong writing really communicates the subtle emotions beneath the smiles and pleasantries of each character. This could have been a one-shot and I would have enjoyed it. The fact that there's an issue to follow is a bonus.

While there are a few missed opportunities that are a little bit of a letdown, very little else about Giant-Sized X-Statix is. This is a strong comeback for older readers and an attractive and entertaining prospect for new readers. If you like your reads smart and loaded with manic energy, then you'll have a great time with this.

Not just a faithful adaptation of the Netflix hit, GLOW is an outright extension that could easily be a leaked script for season 3. The all-female creative team is perfect for this book; they seize every moment and powerbomb it with laughs, story, character, and truth. If you don't watch the show, you will still enjoy everything about this debut issue. If this first issue is any indication, you'll enjoy the entire series that will follow.

This issue sees Hal take some "down time" back on Earth, and provides the perfect opportunity to visit the famed Green Lantern/Green Arrow team-up " and let me tell you, this thing really ticks off all the boxes as a respectful tip of the hat to the untouchable, classic Denny O'Neil/Neal Adams favorite.

If you're a music fan, you'll drink up all the inside baseball things working in and around the main plot. Definitely a new title worth checking out - just like Stunted Growth, it might even be the next big thing.

Rougvie continues to parley his industry experience into platinum level hits. The fully realized characters. The Mad Men-like interactions and A, B, and C plots, and the air of danger and excess that this book breathes make it a must for heavy rotation. This is definitely a book for everyone that absolutely everyone should read. If that isnt you, then what are you waiting for?

If Gunning for Hits real strength is how much it knows about the music industry than this issue is Samson. Rougvie really drills the reader with a lot more insider knowledge of the music industry. So salacious are the details were given from under this lifted veil that you wont even realize or mind that theres next to no action in this issue. You arent just reading a jam-packed comic that really isnt like anything else on the stands. With Gunning for Hits, youre getting a music lesson. A four-colored version of the best music documentary never made.

More than just a solid finale to the psychological thriller of the last few issues, Immortal Hulk #13 packs punches in bunches and a powerful sting in its tale. A fitting entry into a run that feeds on fear, but isn't afraid to explore different directions. Make this book one of the first things you read when you get started on this week's pull list.

There's not even a unit of measurement for how this series continues to improve on each previous issue's brilliance. If you're not reading the Immortal Hulk by now, not even Doc Samson could help you.

Just when you thought a series has shown you everything, sunlight hits it and another shocking revelation emerges from this masterpiece of comic book horror. Ignore any review that regards this series as less than perfect. Even if it had flaws (which is definitely NOT this issue) they'd probably contribute to an overall arc. This is about as right as you can get a comic book. The universal praise this book achieves consistently here and elsewhere isn't hype, it's earned.

An exercise in necessity (and that's not just a clever metatextual play on this issues' subtitle). This is an issue with a lot of meat on its bones. There's exposition, development, action, chills, terrors, and a whole lot of things that go bump in the night. It is story delivered inside spine-tingling spectacle and it's another must-read issue of Marvel's best title.

Immortal Hulk #19 is an absolutely harrowing issue that shows us the monster inside isn't always the worst part of us, but that sometimes the most horrifying damage can be inflicted by those close to our hearts.

If this were a film, Pak would be writing the ultimate Goldfinger reboot. As it sits it's an excellent issue that speaks to the longevity of one of fictions greatest icons well into the modern era.

An unsettling, yet completely intriguing beginning. Touching on themes of sacrifice, judgment, and finding a way to forge forward. You might have a better time of this if you've read previous Joe Golem stories, but even as an introduction, this atmospheric pulp mystery still reads exceedingly well.

There’s a fair bit of prelude to this issue, and each arc has yet to free itself from the larger ongoing arc. To a new reader or a casual fan, though, this is way too overwhelming a read to take on. To a loyal reader who has stuck with the series from its big opening, the jury’s still out on whether the recurring cast and plot threads are still intriguing, or if it’s all starting to feel a little bit tired and too familiar.

As a story steeped in an affinity for music, it doesn't rocket up the charts. But as a well-constructed, "slice of pulp crime fiction" diverse character, it has staying power. The art is especially moody and does its job well to paint the setting with authenticity. It doesn't hit the notes it shoots for, but it has the potential to be an earworm. A slow-burning hit that is headed in the right direction.

Look deep into this story and the real nightmare will reveal itself. It isn't the Lovecraftian beasts that stalk the Boston subway. It's the fear, the prejudice, the hate, the danger, and the unknown of people who don't know what life is anymore. It all amounts to an interesting, if not exactly clear, read. The horror won't scare the pants off you as much as the sentiment of the issue should.

An unflinching climax. Lodger has been a slow burn in parts, and connects like a sledgehammer to the guts in others. The Laphams grab you by the throat and force you to ride shotgun as events take turns, things get darker and people get hurt. Don't just wait for the trade. Whether you just like crime comics or appreciate brilliant storytelling, it's not too late to grab all the previous issues (and this one) and read them with feverish anticipation of next issue's finale.

This issue will hit you with the impact of an extinction level event. Please, give this book its due with an Eisner win. Nothing you read this year will haunt you, stay with you, or affect you as much as the events it depicts within. This is the blueprint for bringing a story home strong and writing the perfect final instalment.

A welcome package of homages. Marvel Comics Presents honours the nostalgic past while breathing new life into the concept. There's something for everyone here and the draw of the talented names who are contributing work for this title speaks to the regard and fondness with which it should be held. Read it as a primer, a circuit breaker for whatever else you may be reading, or just as a guaranteed quality read.

Inside these pages are stories that outshine the majority of what's being done in the characters main titles as of late. This isn't the no-frills training ground for creators that the old MCP was (although that was solid most of the time) this is a showcase of what these characters can be at their best. A place where opportunity shines and inventory stories are elevated into the more memorable fare. The nods to different past staples of Marvel all hit home and the book is creatively structured. There's something for everyone and great value for money to tie it all together.

A fantastic surprise from a mostly unexplored corner of the Marvel universe. This is what happens when the potential of a great idea is matched by the work of the creative team. Between this and the current Winter Soldier, Marvel has turned back the clock and made the mini-series a relevant factor again. The storytelling, both written and visual, work in great tandem. If you're in the mood for something a little bit different this week, you should seriously throw your support behind Meet the Skrulls.

Great writing that really delves into, and captures, the essence of fan-favorite characters and serves as a constant reminder of why we're so taken by the infectious charm of Gambit and Rogue. Ditto for the art that keeps the reader invested in the story by playing a shell game with the action amidst the character growth. A straight up solid, fun-filled issue that works in excellent fashion as a jumping-on point too. This book deserves the same and love and support from comic fans that it showers on all things X-Men.

This issue wont set the world on fire (couldnt resist) but the character interaction and story building are what the issue should really lean on. The Team Nightwing idea is interesting and sets this title apart from the other bat-books so its interesting to explore that a little more in what is a very easy, if not an essential, read.

Despite the Team Nightwing gimmick starting to wear thin, there is some well-written character work in this issue. The creative team balance the cast well and do create some intrigue with what is essentially an uninspired villain, but this storyline needs to wrap up and this book is starting to feel like it needs a new direction.

A solid first issue that introduces the premise in basic fashion and has fun with its core cast. If you’re not overly in love with Dragon Ball Z, the quick and loose logic may be deter you (because like I said, Vale and Timor’s fight after dinner sure escalates quickly). That said, there’s enough visually to keep No One Left to Fight battling onward to a second issue, with a story that’s interesting, even if it isn’t that ground-breaking.

It's a dazzlingly, gorgeous-looking book that carries all the charm and enchantment of its fabled settings. There's a lot of story packed into this penultimate issue, leaving no question that this book is worth your time and hard-earned money. Whether fantasy is your bag or something you generally shy away from, the character, art, and story are sure to work their magic on you.

Nothing out there reads quite like Pearl, not even the other Jinxworld books or anything else Bendis is writing. Nor should it. This issue is gorgeous to look at, has plenty of exposition to jump onto and the word count is huge but doesn't weigh the book down. It's high quality on a consistent basis from two creators who have a great synergy to pour into a unique, brilliant story.

Steeped in culture and artistic knowledge, Pearl #9 could hang, page by page, in a gallery itself. This issue is not only beautiful to look at, but it also reads with infectious energy and earnestness. This series breathes with every turn of the page.

A throwback in almost every sense of the word, but man is it enjoyable. The deliciously detailed tropes. The spot-on dialogue and attitudes. This book is a portal to a simpler time beyond using that as its storytelling device. The look and feel of the book nail the era it plays in. A fun read, plain and simple, that washes the reader in unapologetic, enthusiastic nostalgia.

Just like its lead, this issue is relentless. There's more action in this issue than most summer blockbusters. The characterization is dead-on, and you may even laugh here or there as well. Nobody's Punisher will ever be Garth Ennis' Punisher. That's in a league of its own. But this creative team has come up with consistently excellent stories to feature our man Frank.

Amidst the impending X-launches, Conan spotlights, Avengers love and the still-smoldering ashes of War of the Realms, Punisher is a book that feels like it should get more attention. The scope of its ongoing arc is quite big and there's a lot to like for casual fans and diehard fans alike.

A Mash-up of cultures that balances the punk aesthetics with voodoo mysticism surprisingly well. It's refreshing to read a first issue that hits the ground running so well. It's captivating action up front followed by good story on the comedown. This is supremely effective and feels more unique than expected. A great, cool looking, entertaining read.

You don't need to read volume one to follow on with this issue. But I implore you to all the same. It was an excellent series and this volume takes that many steps further.

Punks Not Dead: London calling continues to come up with the goods every issue. Even the backstory heavy narrative of this issue is crucial and as entertaining as the main story. The intricate layering is just one more jewel in the crown of a visually stunning, completely engrossing read.

While it threatens to get a bit too off the rails, this issue works better if you just let go and roll with it. The clash (for lack of a better term) of generations, allegiances, events, characters, and intentions swirls to a great climax. This is the peak of the high that this series has taken us on since day one. Lets hope the comedown compliments the rest of the trip.

A fine finish to a series that had big ambitions but just didn't get there in the end. The moments where the creative team shine leaves the reader wondering why that wasn't the standard from jump. It has action. It has turns. It hits certain notes. But ultimately it leaves the reader feeling like Marvel must have better plans for what used to be one of its franchise players. Wolverine is the best there is at what he does. Unfortunately, in this issue, what he does just isn't that impressive.

If ever a book does what it says on the can, then this is it. This book's best point is that it uses the characters well and doesn't force the team aspect down our throats at all. I went into this expecting to groan at Conan being forced into an Avengers line-up. Instead, we get some "Avengers" written into a Conan book and, you know what? It works.

Whoa! There's certainly a LOT happening at once in this issue and it can get a little congested. But the prevalent fun and new mythology Johns is building up around this franchise still holds it in good stead. It doesn't need so many artists either but at the same time, none of the art is remotely bad. Never mind that it isn't the most accessible of issues to read, the wall to wall ideas packed in and solid writing still make this a very enjoyable read.

Marvel's SPIDER-MAN: LIFE STORY #1 is more than just a great nostalgia trip. This series looks to be an intelligent journey into the heart of its themes by way of some pure representations of fan-favorite characters. A loving display of what comics are capable of and where they've been that manages to feel like it's being read with a fresh set of eyes. There is action, thought-provoking writing, and everything you love about a conflicted Spider-Man. Bring on the 70s.

: It isnt that this is a bad issue. It just feels like this storyline doesnt need to keep hitting critical mass every issue. Bendis isnt writing his usual page filled with snappy dialogue and long exchanges here, but you wouldnt even notice because theres so much going on. Luckily Ivan Reis is getting an overdose of a yellow sun because his pencils, backed by Prado, Albert, and awesome color work by Sinclair, are seriously superstar stuff.

This is a book that emphasizes fun. Reading it is nothing but a good time packed with creativity, laughs, and quick paced adventure. It's clear that being Superman's Pal is a ball, and Superman's Pal Jimmy Olsen is undoubtedly enjoying himself as he takes us along for the ride.

A fine, first issue that takes care to place its reader back in time. The sharp writing and purposeful movement of the issue lead it towards something interesting. Great characterization and a really balanced narrative viewpoint elevate this above just being a cash-in on two characters about to hit the big screen again.

Forgive this issue and its pacing problems, it's a doubleheader that offers some explanations of the new world and re-introduces the characters to the readership. Enough happens here to keep the reader interested, even if it's almost bereft of action. This story feels like it's going to go somewhere, just don't expect it to transform and roll out in anything but its own time.

For the first time in a long time, I'm enthusiastic about the direction of the main X-book. It seems funny in the face of so many X-titles on the stands right now, but un-diluting everything has been a breath of fresh air for the X-brand. I can't wait to see where this book goes next and I'm backing it to maintain this level of quality. It's already action-packed, well-written, marvellously illustrated, and electrified with creative ideas. It's sitting strong at excellent and it feels like the creative team hasn't even warmed up yet.

If you're going to tweak things about a character that fans know and love, this is a good example of exercising control and not just covering the story in the spectacle. Too few storylines tie up this way anymore and Venom is all the better for it. It's a shame this is kind of sullied by the NEXT ISSUE: WAR OF THE REALMS text reminding us a solid, consistent book is about to be disrupted by a crossover event.

On the strength of the writing and art alone. this earns its score. The concept is nothing new, take away all the trimmings and it's basically Earth's heroes defending from another threat. But by opening with a great battle. at least it starts with the impact a major event should. I'm not invested enough to read all the tie-ins and specials, frankly, just seeing those checklists are starting to make me shudder, but I'll enjoy this as a self-contained event. Good quality is hard to maintain, but this creative team gives the impression that they can constantly level up.

A promising series cut short. Even a possible collected edition would just be a reminder of something great that went unfulfilled. This issue was good, but it's on par with getting fired in the middle of a new promotion. Kelly Thompson's talent deserves better than this.

There's a school of thought that Marvel is getting their cinematic universe right at the expense of their comics. Winter Soldier is irrefutable proof of that the opposite is true. If Higgins and Reis maintain this level of quality (and were granted more than the 5-issues) this would give the Immortal Hulk a run as Marvels best book. The team brings great action and deep psychology without losing classic super heroics. This is just damn good story telling without cheap gimmicks. Fans should support books like this, put it in the hands of people who haven't yet read it, so we get to enjoy it for more than its limited run.

The conclusion to this latest Winter Soldier solo outing is a hard read. Not because it isn't brilliant but BECAUSE of its brilliance. A powerful, emotional, conclusion to the best use of Bucky Barnes since Ed Brubaker resurrected the character. Please, Marvel, give Kyle Higgins and Rod Reis an ongoing Winter Soldier series. Some hope while I tear myself in two lamenting that this mini-series is at an end, while also waiting in anticipation to slam down some cash for the trade.

If only the main Wolverine books had what this book has. It's dark in places and a little disjointed, but the biggest surprise is how well this podcast script works in a visual medium like comics. This is Wolverine like you want to read him, from a writer who gets what makes the character work and knows what to leave out. From an artist who proves his range and plants a foundation as one to watch out for. It doesn't matter what order you do it in, but the podcast is must-listen and the comic book is a must-read.

The WWE series has been a gift to comic book and wrestling fans from the very start. Issue 25 is a prime example of what a creative team that runs like a well-oiled machine can do adapting a licensed property and elevating it on every level. Ensuring that it even exceeds the source material. This issue will make you want to fire up the WWE Network and relive the entire feud between A.J. Styles and Samoa Joe. There is a great crossover of fans between wrestling and comics; I think the creative team on WWE #25 caters to that. They understand both fanbases, respect and appreciate them, and invite new fans to take a seat and mark out along with them.

A terrific issue that kickstarts the latest arc while essaying exactly how it feels to regret our words and actions. This is a very accessible, easy to read, and entertaining series and issue #11 showcases everything that's great about it.

It's not yet up there with the better runs on an X-Force title, but if this issue's standard is maintained, this iteration of X-Force will grow a cult following on its own. For anyone groaning at the resurgent '90s trends, this is a great example of how there is something of value in every era of comics. A pleasant surprise of an issue you'll enjoy more than you'd expect to.

Ed Brisson continues to build a solid foundation for the type of X-writer he is: a talented and creative individual who can give you fan service and something new with more polish than a pair of '90s shoulder pads. He focuses on character as much as plot and doesn't skimp on action resulting in a near-complete read. Backed by moody art with distinctive character design, this is the kind of comic the original X-Force should have strived to be.

More than just a simple history lesson, Grand Design's X-tinction is the most streamlined investigation into the beginning of the most convoluted periods in X-history. Piskor's passion and ingenuity is on dazzling display as he maintains the heart of a period where the X-men were at there peak. Like an alchemist transforming precious metals, this book is entertaining, creative, and encapsulates the time period of its stories to perfection. This is all presented in a visual encyclopedia with footnotes that would put David Foster Wallace to shame.

Youve seen this before and, while it doesnt have all the intricacies of previous kick-off specials, it does what it sets out to do. It takes storylines that are already working on some huge scales and expands the scope. Do we need that? Is there a danger of convoluting things by cross-stitching them together like this? Is bigger always better? None of these answers are in this book, itll either get you amped for something you were already going to buy into anyway or, at the very least, will give you a truckload of great art and content to drool over.

As a part of a larger arc, the story is fine. The issue's OK, but every multi-part storyline these days could do with one less issue and when the Seven Crises arc is wrapped up, I feel like this could be the issue that was more enjoyable padding then essential read. But enjoyable padding is something Bendis has made his bread and butter. As much as it kills us, he's very good at it.

This issue wasn't any worse than the last, it isn't any better at all either. If you're buying this series issue by issue and you need to drop something from your pull list, this series isn't giving you much of a reason to spare it. But if you're enjoying the rapid-fire banter of a bunch of superhero kids palling around and taking everything in its stride, this book still has its fun energy (and big names) to rely on.