Through eight issues, Nocterra has been chock full of the non-stop plot advancement one would expect from a road epic. That character development was prioritized in issue #9 was a welcome change of pace, and proved that Snyder is just as adept at fleshing out characters as he is killing them off. Blacktop Bill remains the series standout while Piper is an increasingly interesting secondary protagonist.

"Pedal to the Metal" has been an apt title to the second arc of Nocterra. The story has moved quickly, but in such a way that leaves readers eager to see what happens next rather than overwhelmed by the action. Tony Daniel has continually made Blacktop Bill and William more visually compelling than silhouettes have any right to be, while Scott Snyders plots have upped the ante with each passing issue. Nocterra #10 ends with a to be concluded" promise, and if its contents are anything to go by, that conclusion should be quite the spectacle.

Nocterra concludes its second arc on a high note wrought with violence, action, and new plot threads. Snyder and Daniel have made themselves a compelling new comic book world to explore, and they will do just that as Sundog Convoy continues on toward its inevitable conflict with series big bad Nox.

This issue could more accurately be titled Devil's Regin: White Queen. Like most tie-ins, it is not necessarily essential reading, adding little to the overall plot of either X-Men or Devil's Reign. That said, it is well-crafted and worth the read for any Emma Frost enthusiast.

Peter Milligan's reunion with the Allreds in X-Cellent #2 remains as sarcastic and violent as any longtime X-Statix fan would expect from the collaboration. The connection with that comic means there's no real "jumping right in" with X-Cellent as a series, but it is still a fun romp that swaps the reality television craze of the early-21st century for today's social media landscape. Just don't expect conventional superhero storytelling or connections to the wider X-Men line.

The X-Cellent #3 is yet another example of the biting humor Peter Milligan has brought to Marvels mutants for decades. The fast-moving plot means that style is valued somewhat more than substance, which will make the wait between this issue and the next a bit frustrating for fans. This is a good comic book, but one cannot help but notice that its tailor-made for binge-reading.

Joshua Williamson has had several issues to set up Dark Crisis, and yet still finds himself with much to do in terms of plotting. This leads to a comic full of nascent plot threads for the author to work with as the series progresses, but also limits its characterization somewhat. Jon Kent is wide-eyed and optimistic despite the recent death of his father, and one villains uncharacteristic brutality should not go unexplained. Nonetheless, as opening issues go, this one is a strong starting point for what DC promises to be the must-see comic event of the summer.

Dark Crisis #2 focuses on providing the action expected of this sort of summer blockbuster while sneaking in major plot points towards the issues end. Williamsons willingness to let Jon Kent shine as Superman is the strength of the comic, but a lack of revelations as to Pariahs plans mean most of the plotting is dedicated to solidifying the titles cast of heroes. That those heroes are not simply the original Teen Titans, who have always been considered heir-apparent to the JL but are presented as inept here, is something of a puzzler. Dark Crisis #2 is an altogether tight read that can- and most likely will- be improved upon as the series continues.

Like most any one-shot, Carnage Forever is not essential reading. It is good, however, and fans of the character will appreciate Johnson's horror yarn. Newcomers or readers curious about the ultraviolent alien's post-"Absolute Carnage" fate can preview his next chapter, which will also be by Ram V.

Christopher Priest takes some big narrative gambles in Black Adam #2, ones that will have readers checking for the release date of the maxi-series third issue. If the authors decisions have some readers apprehensive about the future of Black Adam, they can take solace in the fact that his sprawling Deathstroke run is one of the best antihero tales ever told. Through two issues, Black Adam is no guarantee for similar results, but has planted the seeds for what should be a memorable story.

Mariko Tamaki has made the most of the Dark Knight's absence from Detective Comics since issue Batman #118, crafting a can't-miss story starring his extended cast. This issue does not do much more than move the story of The Tower forward, but the talent of its creators, the story that has led up to it, and the promise of things to come make it a must-read all the same.

This is a setup issue through and through. While that is not the end of the world, until the final few pages we get very few new developments. Dr. Wear is in over his head and the Party Crashers are trouble; that is not news. For the second week in a row, Tamaki has to spread her storyline thin to continue towards the 12-issue finish line. If the plot continues to drag much longer, she'll have to do plenty of heavy lifting to get fans reinvested for the eventual payoff.

The Tower's first six entries flew by, crafting an engrossing story even without Batman's presence. After considerable plot setup in parts 6 and 7, the event returns to its frenetic best this week. In revealing the source of the flashforwards that the readers saw in part 1, Tamaki all but guarantees that the big finish will be an explosive one.

Tamaki and co. took a big risk by introducing a new foe this late in the game. Though this issue is well executed, it is frustrating to see such a large potential monkey wrench thrown in during the closing pages. If the creative team cannot adequately explain how and why their new main villain is here during the next three issues, all of the good work they have done so far could be for naught.

Dangling plot threads are tied up one after the other in this issue, which never stops to breathe in the best way. Though the readers still do not know what Scarecrow's endgame is other than being evil, Detective Comics #1056 is generally a homerun. The only concern is that the newly introduced characters will steal the limelight from Batwoman, Huntress, and Nightwing, who have done so much heavy lifting to this point in the story. Nevertheless, this is the best issue of Detective Comics in weeks.

The Tower has been a great source of action and visual storytelling. Through 8 issues or so, it backed that format up with a tight, engaging plot. The introduction of Scarecrow and later Batman has read like an easy out to a long arc, though. The once slow-burning thriller has devolved into a run-of-the-mill if slick superhero punch-up.

The preview for Detective Comics #1058 promised that The Tower would "[crash] to a close!" In reality, it whimpered, and quietly at that. This 12-parter could have been something over six installments but concludes as an overlong missed opportunity. Hopefully Mariko Tamaki, who had excelled prior to The Tower, can get back on the horse in her upcoming Riddler arc.

The smothering length of "The Tower," a six-part plot spread thin over twelve parts, always felt like it was thrust on Detective Comics creative team rather than chosen by it. Here, Tamaki and series newcomer Shammas seem to have begun a much more manageable yarn that returns the original Batman series to its detective roots. Additionally, it stars a villain in the Riddler who feels comparatively fresh when compared to the rest of Batmans overexposed rogues gallery. If the creative team continues to produce comics with this narrative quality and pacing, they will reclaim momentum lost on crossovers and weeklies in no time.

If Detective Comics #1059 established the Riddlers scheme of sowing chaos through improbable criminals, chapter #1060 follows Batmans investigation into his foils endgame. The issue is largely made up of rising action until a legitimately surprising conclusion. Where that development takes the story will determine the success of the wider arc, but for now readers will have to settle for a competently crafted Batman comic.

Mariko Tamakis time on Detective Comics was by no means a failure, but was at least somewhat sabotaged by issues of pacing after a promising start. Shadows of the Bat dragged on while "The Seven" sprinted to its conclusion, coming to provide the authors run with an underwhelming conclusion. While that is lamentable, fans are now left to look forward to Ram Vs run on the title.

Brian Michael Bendis clearly means to end his time on Justice League with a bang and gets off to a great start with #72. After just over 10 issues as a member of the team for Black Adam, though, can fans get behind a battle for the character's soul? Will two issues be enough for Bendis to wrap up that sort of epic struggle? Only time will tell.

This comic book is a disaster. That was always going to be a possibility given the ambition of the plot laid out by #73. Still, this effort is subpar by the standard of any Big Two comic book, let alone one with Justice League on the cover. Joshua Williamson has his work cut out for him if he means to salvage a major event from the rubble that is Bendis's year on Justice League.

Justice League rebounds slightly from a rough previous issue as Leagues of Chaos reaches its end. The issue, supersized though it is, is still overstuffed, but is still far more coherent than #73. There is some potential here, but gaunt plot development prior to issue #74 ensured that this arc would be a miss. The Bendis Justice League dies as it lived, promising but unfulfilled.

This volume of Justice League will surely go down as a mixed bag in future evaluations, though with issue #75 it ends on a strong note. Williamson kicks a story he began in Justice League Incarnate into gear as he delivers the Death of the Justice League in this monumental comic. It is worth noting that Justice League Incarnate will certainly be required reading to understand the happenings of Justice League #75 and the upcoming Dark Crisis series. This chapter in that wider tale suggests that catching up will be well worth it in the end.

Nothing about this comic book is inherently poorly assembled. Ridley does well with introducing a new version of a familiar character in the space given, and the visuals are strong. What if Miles Morales became Wolverine?, however, is not enough of a frequently asked question to warrant a book. Marvel continues to struggle in justifying shoehorning a version of Spider-Man, its signature character, into other heroes suits.

Bendis's latest Justice League entry is not completely inept; few efforts from a writer as seasoned as him will be. That said, for the amount of rising action in this issue, the end product falls far short of the mark. The final acknowledgement that this particular issue leads up to the next Justice League event means that it probably did not need to be an expensive standalone. Surely an "alpha" one-shot could have done the job while a more memorable story made up the annual?

Williamson will need to pull a rabbit out of his hat to save Shadow War from mediocrity. The shock ending to this issue is almost certainly a bluff, leaving the identity of Deathstrokes tormentor the authors last narrative card to play. Williamsons status as one of DCs go-to writers makes his dud here all the more disappointing, and he needs to work fast to justify this multi-book crossovers existence.