The author's note at the end brags about how many fellow pros love the book and how this book is for "weirdos that don't fit in." That's exactly what I'd expect from a book this heinous. This is a valueless comic. The art, story, characters, dialogue, and any other elements are either unimpressive or incompetent. I'm not morally offended. That would be letting this book win. I'm offended it wants to take any money for its no-bar worth.

If the point of this series is to make a grand statement on trauma and those suffering from it"Heroes in Crisis miserably fails. Instead, it's insulting and offensive. If the point of this series is to be entertaining with a semblance of a good narrative"this series fails once again. Hopefully this mostly panned series will force King to reconsider his style.

I usually enjoy Millar's unabashed stylings. But when he tries to write a super genius trope, it's painfully obvious how little effort he put into writing a convincing character. Without that, this issue falls apart.

Overall, The Scumbag is trying to take down fascism while hypocritically reveling in the key characteristics of white supremacy's modern patron saint. If that wasn't bad enough, the characters are as flat as the art and story.

As much as it hurts to say, Mike Allred delivered a dud with this corny throwback. I enjoy a good retro spoof as much as the next guy, but X-Ray Robot #1 isn't innovative or entertaining enough to elevate the silliness.

The post-apocalyptic trope due to time travel has been done countless times before, and Tom King's post-modern, derivative take doesn't do the clich or Batman any favors.

While not an assault of outright awfulness like the previous issues, this finale is a headache and a half, a stew of pointless nihilism and jumbled execution. The solicit says this series is "groundbreaking." The only thing groundbreaking are the DC execs falling into a chasm of their own making.

Try as it might, Moneyshot has a concept that's too unwieldy and thin"undone even more by an unfunny, derivative script. Admittedly, the art is very good. But everything else is so bad, I wouldn't even suggest a purchase for it.

If you've enjoyed this meandering, rip-off series so far ($5 a pop, people, despite this already being released at Walmart), this will come across as profound to you. I wish I did, because after six issues, I don't find Superman any more interesting than before. In fact, it makes me realize why so many people find him boring to begin with. Reader, if you haven't read any or much of Up in the Sky"please save your money. Invest in Brain Michael Bendis's stellar work on the character.

While some comics can overcome initial problems, Adventureman is still saddled with flat characters, derivative worldbuilding, and underwhelming art.

Tom King doesn't even attempt to address the complex thematic, social, and psychological issues he uses in a willy-nilly manner.

Tom King should always be commended as a thematic writer. If only he actually developed his ideas instead of half-baking them and declaring them meaningful.

The best I can say for Batman and the Outsiders is that it's not egregiously bad. But if a series makes you question its very existence"it's aggressively mediocre. Are you tired of all the generic Big Two comics these days? Then don't buy this and send a message. That's the only silver lining I can find around this.

Damned wants you to think it's important. Meaningful. It isn't. It's little more than edgy shock value with heinously conceived jabs at meaning. At its worst, this issue is so embarrassing it'd work as a comedy.

At this point, we should stop waiting for Deadly Class to finally pick up and do something with all the momentum it built up. This series has turned into The Walking Dead. Not the comics. The TV show, i.e, scene after scene of characters talking about their feelings via bad dialogue across a wild tangle of story threads that keep slipping with every installment. To quote Joy Division: "Where will it end?"

Squandering its potential, Doctor Doom has quickly devolved into typical superhero/villain "going rogue" antics.

Creating fresh and unique story-worlds is hard work. But that's no excuse for the cavalcade of unoriginality Oliver bombards us with.

Things could escalate quickly from here, but even if they did, the sleepy writing and average art don't set a good precedent.

There could be a great, complex, exciting series with The Last Witch. But the first issue shows a lack of detail, stakes, or compelling artistry. Maybe these qualities seem too incidental for kid's content, but there's a lot of great media for kids to consume that's exceptionally made, and I think they deserve better.

The creative team fails to bring depth or fun to the already difficult to write for Diana. Come Back to Me is a lot like the Wonder Woman movie. If you find enjoyment at the mere sight of a perfect female character strutting around with no real problems, this is your dream book. Those of us who demand better stories for female characters will keep looking.

'Action Comics' #1023's plot is so overbearing, Brian Michael Bendis has cut off the circulation to the charm and heart he's so often capable of pulling off.

'Adventureman' really wants you to think it's pulp, despite the writer admitting he doesn't know much about the style. As a toothless retro pastiche, 'Adventureman' is inoffensive and bland. But those looking for more challenging or in-depth material will have to read elsewhere.

Like any anthology, Secret Files #2 is more bad than good. But if you can find this in a dollar bin in six months, it's worth the price for a couple stories and a sampling of smaller DC talent who'll no doubt go on to write huge, acclaimed books in the upcoming years.

Deadly Class continues to be in a slump, although this time it's due to an over-long, repetitive filler issue. Hopefully the next installments will move on and learn to just say no to bad melodrama.

Overall, without the gravitas or pathos of his other work, Hickman's attempt to pen a "fun" sci-fi romp is a slog of clichs and tired ideas. However, the art is stunning and almost, maybe worth the undeserved price tag.

Want page after page of gross-out gags? Then this is your nirvana"your Shangri la (cue The Kinks). While Fight Club 2's biggest problem was meta gags, 3 is more difficult to parcel with its lack of coherent pacing, story logic, or characterization. Methinks Russ Burlingame said it best: ""clarity is sacrificed on the altar of a payoff or surprise to be redeemed later." He said that in reference to #7, but it especially applies now. I want to say FC3 is at least different, but I might prefer a nice dose of sensible mediocrity after this nonsense.

With only two issues left, any tension that was present has evaporated. Even when #10 turns on the waterworks, it comes out of nowhere and makes the purpose of this series harder to parse.

Tom King has the best intentions with this series. But it's a darn shame, because this series started out with a compelling plot and promise to delve into Superman's psychology. But these past two issues have failed to bring the same rigor. Instead they fall into an episodic slop of tangled themes and sluggish pacing.

I want to like Donny Cate's apocalyptic take on the Mad Titan, but the current story is too bogged down in details to be wholly satisfying.

Even Rick Remender can fall into the misguided belief that "bigger equals better." "Deadly Class" is best when it focuses on its cast, but this issue is jumbled overkill.

Yes, it's awesome that we've been blessed with a pirate comic. But it's unfortunate the storytelling and art is uneven. That being said"I would like to see where this series goes. I mean, it's it's a pirate comic, so there's built-in potential I hope isn't squandered further. However, if you don't inherently like pirates or violent swashbuckling yarns, this won't change your mind.

In terms of writing"no, it's not good. But the art is terrific and justifies a purchase. Hopefully Erica Henderson can move onto better written projects after this.

In a surprising drop of quality, the pacing, dialog, and characterization devolves into a stagnant, blunt puddle.

It's hard to see why this exists. While many will buy this just because of Frank Miller's "triumphant return" to the TDKR universe, it doesn't warrant its price or length. As satire, it's weak. As a story in general, it's sloppy. As a Frank Miller comic? Predictably disappointing.

Just when Deadly Class was starting to gain some real steam and momentum, it uses Helmut to leap into bloody oblivion with an axe. Perhaps one could derive some pleasure from the camp. But one wishing for the plotlines and characters to be served well will be left wanting.

It's almost amazing how one issue can hype you up for things to come...only to drop everything the next and bore you stiff.

Overall, Dune: House Atreides refuses to give us the mystic and subtle power of the source material; yet another example of a visual medium failing to convey Herbert's brainchild. Unfortunately, I'm sure there's a way to play in the Dune universe with comics, but this dull, flat attempt isn't it.

Overall, this series has yet to fix fundamental issues (namely: its purpose). And the glut of characters yet barren plot is frustrating. However, the art has improved and represents the visual splendor of the property in far better light.

Johnson tries to pull at our heart-strings and trigger our adrenaline, but the story is too clumsy to really take flight.

In the grim realm of post-apocalyptic life, creators can delve into really fascinating social commentary and unleash the gritty part of their imaginations. So it's a shame that with such a storied history to the sub-genre, Protector #1 fails to make much of an impact. Characters lack depth, the worldbuilding is derivative, and the art only makes things more confusing.

We've got big expectations when it comes to Star Wars, so it's extremely difficult to make a new story that's truly satisfying. While the beloved heroes sound and look decent enough, the plot, characterization, and art are very standard fare for these corporatized comics.

Bogged down by exposition, bad dialogue, and a boatload of cliche decisions, 'Stealth' #2's improved art can't save it from mediocrity.

Unsurprisingly, Tom King has let me down with a badly paced, on-the-nose next issue of Up in the Sky. Well, the art is still impressive. But maybe y'all should wait for the trade paperback at your local library. No use being out $35+ for the uncertainty of individual issues. God only knows what #3 has in store for us"

The Rush definitely has a sellable premise, but its approach doesn't cohesively convey to us why we should understand this revisionist history or care.However, the art does make a strong case for purchasing.

While the mystery is moving along in some aspects, the evolving story isn't dark or engaging enough to cover for the ever expanding but weak cast of characters.

The first chapter of Slott's "Spider-Man" finale doesn't accomplish much and stumbles numerous times. If this is setting the tone for the rest of the arc, then I'm afraid this could be a disappointing swan song for Slott.

While not a bad effort, its lack of solid content (in story and art) doesn't deserve the price tag.

As the real world struggles to protect the marginalized, comics like these are needed. I only wish Black Widow was better written to serve its important messages.

Overall, Crossover is moving places, but there are some fundamental problems that keep the series from fully gripping.

Soul Plumber could very well turn out to be a satisfying, well-rounded story when collected into an arc. But that doesn't excuse the messy storytelling and lack of immediacy this first issue is drowning in.

Insecure writing and dialog keeps this book's interesting concept from truly realizing its promise.

Overall, Deadly Class is as tumultuous as ever. For every clever or exciting moment, there's an unmotivated action to get in the way. At the very least, you can't say the series is boring.

Although Weight of the Worlds has kept fresh because of its constant story and creative changes, this issue marks a major backfire in that shambolic strategy. #5 is stiflingly self-indulgent and congratulatory.

Yes, this issue develops the plot more and isn't as tedious as #1. However, #2 retains the dry format of its predecessor and squanders the potential of a DC-wide conspiracy thriller.

The plot is moving forward in some respects, but the scope previously established is lacking. Throw in some badly handled assault and you've got a clumsy comic.

More of the same. That sums it up nicely if I do say so myself. Iconoclast visuals and scenarios continue to abound with the same level of pouty angst. Indeed, the plot is incrementally inching forward. But at this point"it's getting harder and harder to care. Much less muster any indignation.

If you want Punisher to be John Wick, this issue will work fine. However, if you're unsettled by Frank Castle portrayed as a badass hero, this won't win you over with its numbing chaos and lacking story.

Lacking an edge or emotional pull, Sharkey #2 is lost in a sea of cliches.

If you got a hoot and a holler from the first trade, this will fit right into your wheelhouse. But, if like me, you were disappointed by how unwieldy this series quickly became, this new #1 will leave you lost in space.

Slott and Zub excel at the character beats. Yet, wrapping up the action-packed main narrative is where the problems arise. If a Big Two book can't justify the explosions that take away from the heart of the story, that's a foreboding sign.

Typhoid Mary deserves to take center stage with McLeod's character work, so it's a shame that this issue lacks the cohesion and tightness of the previous issue.

This creative team has good intentions and some good ideas but they aren't the best fit for this story, which needs a lot more work to succeed.

Final Verdict: 5.7 " This issue works decently as an introduction for people curious about comics from Infinity War. Unfortunately, "Avengers" #2 is too meager a meal for already established fans.

It's not high art or written exceptionally well, but if you want to see DC's version of the Hulk get a sentient vine shoved down his throat, then you could do a lot worse.

While messy yet simultaneously confusing and unnecessary, 'Action Comics' #1022 redeems itself with return-to-form work from the art department and heartfelt characterization from BMB.

The characters and art are messy, but it's hard to hate on the issue's lilting sense of pathos and humor.

Tricky question. On one hand, it's refreshing to have a writer that doesn't bog the central relationship down with bad meta jokes and esoterica. Yet, the plot is generic at best and too confusing/cumbersome for new readers.

Sean Murphy spoils a fascinating story with unwieldly dialogue and a sudden redemption for Batman.

The concept is strong with this one, but the execution isn't inventive or thorough enough to excite and fulfill its potential.

Come for the artwork and overall mood, but skim through the story. Yes, the characters are fun, yet the story surrounding them lacks a punch.

Continually hard to pin down, Criminal's refusal to settle down has benefits in rendering scope. But all too often the plotting and characterization gets ungainly and in #10's case, leads to clich beats.

Overall, Crossover has an ambitious premise, but Cates' limiting of scope chains the story and his artistic team to mundanity and draggy pacing/storytelling.

It's admirable that Zdarksy continues to explore themes, but this issue resolves the conflict in a clich and quick way.

If you're looking for a showcase of stellar art and boundless ideas"look no further. However, if you're craving development and solid storytelling, this current arc isn't much interested in such tiny, earth-minded things.

Only Fight Club could be described as off-putting and quirky in a positive way, but Palahniuk achieves this despite herky-jerky storytelling. Still a bizarre story worth following.

Overall, the premise is fun and has the makings of an empowering story for girls. Yet, the first issue runs out of steam and overloads itself with the wrong details. Hopefully the next issues make for a well-rounded adventure.

While it's a definite step up from its rough predecessor, Middlewest #2 wears a lot of influences but doesn't show it can transcend them, although the possibility is still present.

This issue continues piling on twists and sidetracking itself. We can only hope issues to come focus up.

Radiant Black is most alive when it's reveling in energy-soaked action and wordlessly conveying emotion. Unfortunately, most of the issue bluntly hammers its points across in flat ways in both story and art. But there are enough bright spots to keep Radiant Black from being a lost cause.

Overall, while not a perfect or subtle book, Stealth has commentary on its mind and surely many a plot twist up its sleeve. It can often be hard to picture new superheroes making a splash in today's Batman/Spider-Man obsessed world, but Stealth certainly deserves attention for its gumption.

Herein lies a book with an identity crisis. It's marketed as a showcase of Jimmy's shenanigans, but the book insists it's smarter than that and thus, undercuts its existence with a muddled mix of drama and cuteness. But hey"it's at least different. If you liked the first issue, go for this one too.

While it's not quite good, #4 is likably close, especially compared to the uber-self-serious and indulgent #2 and #3. It's very likely the next issue/s could be bad. Or maybe I'll be wowed. But for now, we should drink in the oasis.

Up in the Sky has certainly had its ups and downs, no better exemplified than in this thematically powerful but predictable installment.

Although its handling of domestic abuse leaves a lot to be desired and the story is a little too big for its britches, The Dollhouse Family pulls no punches and ends on a genuinely shocking stinger. Its main point is to show a little girl's innocence being taken away and exploited by evil, and this illustrates that in a mostly effective way. Overall, I would like to read more, and that's all you can really ask for in this crowded comics market, isn't it?

Tony Stark: Iron Man has always been a complicated animal trying to carry a dozen subplots through a mixture of standalone issues and multi-issue arcs. Sometimes that format works; sometimes, like in #14, the mess is more evident. But with such a vibrant creative team, it's a charming mess.

Trees's blend of hard sci-fi and personal drama remains at the heart of Ellis and Howard's efforts, and for that, this remains a book worth following. So that's why it's a shame that the creative team doesn't trust us to figure anything out.

Overall, like any anthology, we're given a mixed bag of results in issue #4 of Wonder Woman: Black and Gold. However, while some anthologies leave a bad taste in the mouth, Black and Gold #4 is a pleasant read even if most of the stories aren't great. No matter the quality, these shorts have a good heart and there's a lot of love for the character on display that will please hardcore fans and win over Diana dilettantes like me.

This is definitely worth a read for the bombastic carnage, but for all the razzmatazz, #6 feels rather hollow for being the climactic battle.

While I'm now intrigued about Domino in a way I've never been before, the average story and bland art hinder the experience.

None of these stories are masterpieces, but Are You Afraid of Darkseid? is on whole a positive, pain-free experience to get you in the October mood even if each installment is bookended by inane Teen Titan banter.

If you can get past the art, the bold and transgressive characterization is worth supporting. 'Murica.

While a perfectly solid piece of pulpy noir, Criminal #4 is caught in a web of references instead of being able to stand alone as a satisfying issue.

Overall, Maids is another striking visual piece from Katie Skelly. However, it's a shame she doesn't build enough on her concept to make it truly stand apart and play on our minds, although it is an eerie portrait of sisterhood.

Overall, Post Americana is not terribly original, and it's certainly not high-brow. But its art and irreverent tone make for an engaging read worth several re-readings for the energy and grandiose details supplied.

Pacing problems make this issue a difficult recommendation. On the other hand, the stellar characterization and art makes it worthwhile.

The title takes a step back due to sloppy narrative logic, which harms not just the characters but the narrative. However, the meaty themes are still present along with a stunning step-up in art.

A quaint, predictable, yet satisfying farewell to Lady Jane Thor. An important issue worth the price of admission.

While this title continues to be all over the map, this arc signals more forward direction. Besides that, Spencer piles on stellar dialog and Bachalo makes the case he should be permanently on this title.

Those who enjoyed the racist-busting shenanigans of BlacKkKlansman and Sorry to Bother You will get a kick out of this messy yet exciting inaugural issue that has no shortage of ambition and heart.

In a disarming turn, the tension is further deflated from this arc. But it's in service of an endearing albeit rough-edged portrait of the Lawless gang.

Daredevil continues falling into a hell of his own making, and Chip Zdarksy is doing a great job of attaching weights to Matt's ankles for our own enjoyment.

While it's not a powerhouse issue, Zdarksy and Sharma situates us in the new status quo while introducing new threats on the horizon, which is exactly what this new arc had to do.

While Way struggles to give attention to the ever-expanding cast, Doom Patrol continues to delight with its aggressive nonsense.

While this second issue is more a continuation of the previous issue's scenes, the razor-sharp insanity on display is worth following.

Overall, I fear the pacing of Fight Club 3 is a mess. But each issue is an enjoyably anarchic experience.

Despite not having the referential power of #3, this issue simultaneously keeps the momentum and scatterbrain pace racing along.

Those looking for a solid, straightforward narrative will be disappointed. While I wish this series was more consistent and focused, its unpredictability makes it a discovery with every issue.

It's not the darkest or most streamlined installment, but David and Land are continuing to elevate '80s nostalgia in the Spidey realm. The fact that this incidental series is so fun is a mystery-o.

Overall, despite some spotty faces, this continuation of "Cruel Summer" continues taking delight in an interrogating, character-centric crawl.

This issue, like the rest of Zdarksky's run, can be over-obvious. Yet, it's so earnest and understands Daredevil so fundamentally, this issue is nothing short of powerful.

Here, the rubber meets the road. The arc overall has been a pacing nightmare and the character motivations/actions a patchy scramble. Granted, maybe I was just starved for some action after so much tedium. But no matter the reason, I was enthralled by Craig and Remender's actionpalooza.

Young Animal always swings for the fences, and Weight of the Worlds is no exception with its time-hopping confusion.

If you were waiting for the proverbial ball to drop, this issue is it. The mayhem and snark gloriously go up to 11.

Bendis shows the hard choices Clark has to make.

Despite my enjoyment of the previous free-wheeling issues with Tony, Slott effectively takes us down a darker path that doesn't sacrifice quality and adds another layer of complexity to an already great series.

This is an atmospheric and refreshing take on the reformed Russian agent with some serious ambition.

While not the most exciting or tense issue, "Gideon Falls" remains one of Lemire's most haunting and ambitious projects to date.

#8 evokes Pynchon in the way it reminisces and meditates on how the times change and yet stay the same.

As an almost stand-alone issue, this is an excellently executed piece. But on whole, it's a tad hard to judge, since #11 ends on a cliffhanger that we expected but dreaded. One thing's for sure"I have to read #12.

This series has its ups and downs, but it's all worth it for tightly written excursions like this.

For all the ups and down of this series, #50's razor-sharp focus saddens me that the series is ending"but excited to see where it goes in its final issues.

While the flat art is a hinderance, the script turns Doctor Doom #1 into an excellent first issue and a darn solid comic in general. The plot and characterization could go in any number of ways, bringing a sense of urgency to the proceedings. I haven't looked forward to the next issue of a series like Doctor Doom in a while, and it feels great.

Rob Guillory has overcome some of Farmhand's initial problems and stuck to what makes it great: a wacky blend of body-horror macabre, absurdist comedy, and family drama.

Yes, a Fight Club comic is still a strange concept, but its confident execution in both story and art makes it an enigmatic read that tantalizes us with the story to come while laying down solid groundwork.

While it doesn't push the mystery forward like the previous installments, #3 gives us more sobering context to the fallen guests of Sanctuary.

This series refuses to be a mere spin-off and drives forward with engaging plot and character development.

It's taken a bit to get there, but Fraction and Lieber have finally gotten the plot and humor to consistently speed along. I had doubts there'd be enough material for 12 issues, but there's enough for 20+ if Jimmy Olsen can keep this level of innovation up.

King has already established that he can set up really great stories, only to sometimes flub them later. While that's a very high possibility, let's enjoy this first issue regardless, which dishes out introspective intrigue and gravitas.

This comic is a blast, especially for a fan of older Spidey fare like myself.

Kyle Higgins and Rod Reis aren't messing around and continue giving Bucky an efficient, suspenseful tale worthy of the noir-flavored character.

Kyle Higgins and Rod Reis aren't messing around and continue giving Bucky an efficient, suspenseful tale worthy of the noir-flavored character.

"Captain America" #698 isn't very subtle, but with creators this focused and masterful, it's irresistibly exhilarating.

Batman: The Long Halloween Special is a triumphant return to an iconic tale that works as a standalone issue of Batman goodness and an eerie, worthy continuation of The Long Halloween saga. While many creative teams diminish over time, Loeb, Sale, and company are still hitting comics out of the park.

By harkening back to Batman as a stalwart, super-spy detective, Brian Michael Bendis and Nick Derington deliver the action, humor, and characterization we crave from DC.

Is it good? It's great! The iconic duo shows no signs of slowing down or reducing quality as they build on their Criminal universe, which worked wonders for a newbie like me. I can only imagine how thrilling this is for preexisting fans.

There are certain elements that I could spin into negatives, like the excessive blocks of narrative text or the fact that Jacob Philips' colors aren't as bold and beautiful as previous issues. But the story, the characters, and the narrative mis en scene hit me so hard, it put me in major meditative, reflective mode to the point where I wonder if these flaws are actually intentional. Overall, I can't wait to go back and reread 'Cruel Summer' now that its finale has erupted to see how the pieces fit together before Brubaker and the Philips' glorious tore it all apart.

If the creative team keeps up the pathos and complex storytelling established here, we could be looking at a character-defining run. Don't miss this"especially if you've been out of the Daredevil loop as of late.

"Doctor Strange: Damnation" #1 starts a bit suddenly, but is so well executed, it deserves its place in every pull list. Regardless of your stance on Spencer or Cates, this issue cements them as Marvel's hottest writers on the scene.

From the script to the art, Outer Darkness fuses its inspirations into a wonderfully nightmarish blend. Get on board before it's turned into a hit TV show!

Even if you're not a fan of "Venom" or villain books, Donny Cates and company are already delivering a rich, haunting story that works on a variety of levels.

So much is happening in the story and art, you could both fly through or slowly analyze this issue and get a buzz from it. The show may be cancelled already, but there's hope that Syfy fans will jump to the source material and catch up to this high point.

Final Verdict: 9.0 " Gerard Way and company brilliantly tie up loose ends while setting the stage for more insanity to come. "Doom Patrol" is an unadulterated joy to read.

Adapting classic literature is a daunting task, but Ryan North and Albert Monteys preserve the excitement, strangeness, and biting philosophical comedy at the heart of Vonnegut's iconic work by calling attention to the comics medium, just as Slaughterhouse-Five called attention to its form and the fate that binds us all.

In two issues, Brubaker and the Philips have crafted a story about comics and the people behind them with more depth than most series achieve with years worth of arcs.