The artwork is great and the story is pretty good. Combined, you get a comic book thats worth a look.

While this book is still fun, it's more serious than it was in the first issue, and that makes for a richer story. I like where this is going.

The first issue of this direction for the title is fantastic. Cornell and Woods are off to a great start.

Traditionally, making the villain the star of a comic book presents the writer with a whole different set of obstacles. Paul Cornell is really taking those potential troubles and blowing right past them, giving us a comic book thats engaging, entertaining, and very cool.

Still, at least its a good story, which accompanies a great story up front, making this a very good issue overall.

The story includes the long-awaited DC universe debut of Smallvilles Chloe Sullivan, who has a history with Jimmy that fuels the plot. Jimmy, Chloes ex, finds himself in a position to prove himself to her. The result is a really entertaining story, with one of the best approaches to Jimmy Olsen Ive ever read. This is a character that deserves the spotlight of a story. He may not be the sort who can support his own series anymore, but this is the kind of stuff back-up features are made for. R.B. Silvas Jimmy is a bit older than hes been drawn in the past, maybe mid-20s instead of teens or college-age, which is perfectly all right. Its about time he moved forward a little. Its a wonderful complement to the Lex story, and together, these stories make Action Comics one of the best values you can get for your $3.99.

This is a fine combination of stories and perhaps the best single issue of Action Comics in years.

Another fine issue of one of DCs best titles.

Were in the home stretch now, with just two issues left in this story arc before the reigns of the title are given back to Superman. Im really happy that Cornell and Woods are sticking around, though. Their Lex Luthor saga has been masterful and I cant wait to see what they do with our star.

Excellent issue, and Im really looking forward to the end of this storyline.

This issue is great, and Im tremendously excited for the conclusion of this storyline.

Honestly, if this book wasnt following perhaps the greatest Lex Luthor story ever told, it wouldnt feel like such a letdown. But were following that great story with what so far is just another Doomsday story. Cornell is a fine writer and I have no doubt that hes got some great Superman stories in him. So far, though, this isnt it.

If nothing else, its great to see these four characters in action together, something that hasnt happened in a long time and may not happen again for another very long time (since weve heard nothing about Steels place in the new DC Universe). Ill enjoy it while it lasts.

I know that, come September, this will all be largely irrelevant, but I wish the original Action Comics was being given a more intense swan song.

I feel like there should be some sort of ceremony here, some sort of eulogy for Action Comics, but I really dont know how to do one. Its not really the end, after all, just the end of the current age. And Supermans seen ages end before, more than anybody else. Ill just cross my fingers that when we get Action Comics #1 in a couple of weeks, Grant Morrison shows us how, once again, Superman deserves to fly.

Its an okay issue, but if youre getting it expecting something that connects to the main title, you may want to look around elsewhere.

Honestly, out of all the things happening with the relaunch, the state of Superman was one of the things I was most nervous about. But Grant Morrison demonstrates again how much he knows this character and how right he is to tell his story. This issue rocked.

I am loving the new Action Comics. I dearly hope this creative team has no intention of going anywhere anytime soon.

The book looks great, it feels right, and I had fun reading it. Thats as complete a recommendation as I can give a comic book.

I do have two minor complaints about the issue. First off, the cliffhanger ends with the information that the story will continue in issue #7, and that next issue will be an interlude. As far as I can tell, Grant Morrison is still writing that issue, so Im rather confused as to the reason for the interlude. However, that may become clear when the next issue is released, and its technically not a fault with this issue anyway. The other little problem I have is Steels armor. It looks okay, and again, Brad Walkers rendition of it is fantastic, but it looks rather similar to Cyborgs design. Yay to the DCU for embracing diversity and all that, but do you really want your first two minority superheroes (again, chronologically speaking) to have such similar visuals? On the other hand, this is clearly Steels prototype armor, and Im keeping my fingers crossed that the completed version will sport a look all his own.

This has been an interesting little diversion. Im going to be happy next month to get back to the main story, though.

For all the good in this storyline, and in this issue specifically, Im not going to let a few bad pages ruin it for me. But those bad pages leap out at you and pull the overall score down, and thats a real shame, to fumble the ball right before the endzone.

Fantastic issue and a very nice way to kick off the books next storyline.

This is an okay issue, but actually not as good as the last few issues of the young Legion have been. Levitz is doing exceptional work on the core title, and Ive got my fingers crossed that next month, this series will return to that level.

Good book, but the artwork on the main feature drags the score down.

In the final installment of the Atoms co-feature (with the story apparently slated to be completed in a second Atom Special in March) Ray Palmer and his uncle Dave find themselves trapped in their diminutive size, forced to battle some tiny killing machines. Fortunately, this gives them time for a much-needed heart-to-heart. Jeff Lemire works in some good character stuff here, neatly paving the way for the conclusion of the story.

Levitzs work on the main Legion Title (and earlier Legion stories in this title) has been really great. If he can bring the excitement of that book to these characters, combined with Jimenezs artwork, this will be a first-class comic book.

The story is told well, but some pages (such as the opening full-page panel) look weird, with Cosmic King's head floating at an odd angle and Comet Queen being out of proportion with the rest of the cast. (Unless she's really flying at comet-speed through what appears to be a rather tiny room.) If nothing else, I sincerely hope that this isn't farewell to these characters " merely 'till we meet again.

I like the book and I like the new flavor for Hex. I'm just curious about two things " will the back-up stories, beginning next issue, justify a higher-than usual cover price, and if the book will be cheeky enough to call itself "Western" if Hex does, indeed, put down roots in the east coast city of Gotham?

Mateus Santoluco, again filling in for Rafael Albuquerque, does fantastic artwork. His work really fits perfectly with the designs Albuquerque created, and his layouts are and monsters are very strong. Great issue.

Two issues in, this is one of the New 52s best.

The artwork is growing on me here. Travel Foreman works better with a horror comic than a straight superhero, and the more horror-oriented scenes we get this issue feel like a better match for him. Some of the creatures that Buddy and his family encounter here are simply pulled out of nightmares. It works for the story and makes a great comic book.

Travel Foreman's artwork continues to straddle a line for me. It's not really clean, but for a horror comic it doesn't have to be. I like it, it fits because the book is primarily a horror title pretending to be a superhero comic book. As it is, it continues to be one of the best of the New 52.

Its a nice little interlude, a nice way to catch our breaths. Im looking forward to the continuation of the main story next issue, though.

The book probably works best when layered with Swamp Thing. The two characters are facing the same basic foe and we know the conflict is going to bring them together in a few issues. But even standing alone, Animal Man is one of the strongest books in the entire DC Universe smart, dark, entertaining, and well worth the money.

I imagine most of the people reading the ongoing Animal Man title already got this issue, and whats more, that most of them are reading Swamp Thing as well. If you arent, this annual probably wont be absolutely vital to your understanding of the upcoming crossover, but it wont hurt. And if youre a fan of either title, this added perspective about just what our heroes are going to have to face is well worth the read.

This is one of the best values you can get for your money these days. Two great comics for just an extra dollar over most of Marvels line.

I'm going to assume the Trench are the creations of Geoff Johns and Ivan Reis, and give them credit for whipping up a legion of underwater monsters that are ugly, creepy, and feel like a legitimate enough threat to help them prove this comic's "Aquaman-really-is-awesome" thesis. They're freaky-looking things, like the Creature from the Black Lagoon mixed in with a piranha, and watching Aquaman and Mera face off against them is plenty of proof that this character can be cool when you give him to the right creators. Awesome issue, and I'm happy to say that Aquaman continues to be one of the breakout stars of the New 52.

Theres not really anything wrong with this issue, theres just not enough to really get me excited.

The comic is funny, and works up to a well-constructed ending, but it's the sort of thing that'll feel very dated in a few years. Enjoy it while you can.

Im still looking forward to the finale, though. This has been a strong series, and its going to be missed.

I like seeing Brent Anderson get to play with outer space. Its not the first time hes had a chance to do this in the history of Astro City, but after the four-year long Dark Age arc, its really nice to get into some more cosmic stuff again. (There were a few specials in that time that gave us cosmic comics, but I digress.) Alex Ross, as always, supplies the cover, and I think this is one of his best. If youve never read Astro City before, I dont know if this would be the best jump-on point. It stands alone very well, but if you didnt spend the years wondering what the secret of the Silver Agent is, I dont know that it would have the proper impact. But if youve ever been a fan of the series, this issue is a must-read.

Its just an excellent issue.

Expertly plotted by Brian Clevinger with wonderful artwork as always by Scott Wegener, this miniseries may not be quite as high on the crazy fun as previous Robo miniseries, but it most certainly has the most gripping climax of his six volumes to date. Whats more, it changes the game in a very real way (without, I should point out, sacrificing any of the fun, as the creators have always bounced around the timeline and they could just as easily tell a more innocent story set at any point before this volume). This may be Robos darkest hour, but its the best story hes starred in to date.

Really, the only reason a person might not love this book is because they havent read it yet. Its one of the best comics being published.

It would be easy to call stories like this one a "fill in the blank" tale, explaining how Robo came to be the man he is in the contemporary stories, but I think that would do this comic a disservice. It's far more than that. It's an engaging, entertaining story in its own right, full of action, comedy, and sweetly tender moments that are more satisfying than almost any other comic out there. I've got to say it again: I just love Atomic Robo.

Another Atomic Robo series comes to an end and again, I cant wait for the next one.

The best thing I can say about this issue is that its got me to at least finish out the storyline instead of walking off the title early, but I still doubt very much Im going to continue reading this title once the initial arc is over.

This is a very solid issue, and honestly, the best out of the four Heroic Age Avengers ongoings that launched last month. I really look forward to more of this creative team and these characters.

I really am a fan of most of Marvels old-school characters, Hank Pym included, and I get irritated at how often creators and fans alike see fit to crap all over him. Im happy to see this title giving him a position with a little dignity and hope.

Taskmaster became a much smarter, more rounded character when Christos Gage wrote him in Avengers: The Initiative, and he's carried that insight over into this book, extending it logically into Finesse as well. This book is without a doubt the current gem of the Avengers line " smart, entertaining and a lot of fun to read.

Very good issue, though.

With the Young Allies and Initiative characters effectively homeless at the moment, I wouldnt at all mind seeing them join the extended family of this title. They fit in really nicely (especially Spider-Girl and Firestar) and feel like they serve a purpose in being here. Its such a simple book, but plotted and characterized masterfully. This is an issue virtually without fault.

Again, this is one of Marvels best books, and its journey into Fear Itself has done nothing to diminish that.

In a few pages, Gage has redefined the character and changed her place in the world. It's hard to do, harder to do well. Tom Raney's artwork is perfectly solid, even perfectly capturing Veil's shift from relief, to shock, to rage. It's a magnificent book, and you should be reading it.

Without a doubt, this is my favorite piece of Fear Itself to date " smart, entertaining, thrilling, and a story that significantly advances the characters and plot of the title, using the crossover to do so in an intelligent way.

Christos Gage writes a strong action sequence, and Andrea DiVito nails the images. You get to see not only how dangerous the villains are, but also the potential of the heroes as well. Striker even manages to work in just a little bit of growth here, embracing part of himself that the book has tried to push aside in order to win the day. With an issue left, this is probably my favorite bit of Fear Itself to date.

In truth, the way this issue ends is legitimately shocking and can lead to a real upset in the status quo of the title. Gage has made me care about a group of unproven characters precisely because they're unproven, because their potential has been untapped, and he uses the crossover to its fullest potential. None of the kids will be the same after this storyline is over, and every single change feels sincere and natural. We've also got Tom Raney here doing some incredible artwork, full of action and crazy scenery. This issue is almost flawless.

Tom Raney's artwork is dynamic, exciting, and entertaining. There's virtually nothing to complain about here. It's an incredible comic book, and I hope I get to read it with Christos Gage in the driver's seat for years to come.

As always, a great issue.

Hopefully the upcoming guest-appearance of the kids from Runaways will give this book a little bit of a boost. Its the best book in the Avengers family these days, and one of the best books Marvel is publishing.

Its a really good issue, though, and if youre a fan of Avengers Academy (and you should be) its worth reading.

Anachronisms aside, this is a fantastic first issue. The only thing that sucks is that this story is going to take a year and a half to tell.

Heinberg and Cheung are selling this story for me, and selling it well. Itll be too long a wait for issue three.

This series has been fantastic. Im anxiously awaiting the last three issues, even if it takes another six months to get them all.

Heinberg and Jim Cheung have completely brought their A-game since this series began a year ago. Going into the final act, I've rarely been more excited for an Avengers event.

Jim Cheung continues to turn out beautiful artwork, with all three teams looking worse for the wear as the story marches in towards its conclusion next issue. This is most definitely one of those books that will change the status quo not only for the Young Avengers, but for the Marvel Universe as a whole. And knowing that the whole thing is feeding into next years big crossover makes me more interested in Avengers Vs. X-Men than I was before, which means this title is most definitely doing its job.

The entire first series was about them growing and learning to be heroes, this "lost battle" doesn't give us anything we don't already have. Even the incredible Alan Davis doesn't seem up to speed this issue. He turns out a good cover, but his interiors look somewhat weak and unformed in places, a problem that's only exacerbated by the muted color palette chosen by Javier Rodriguez. I suppose he's trying to evoke a bleak future, but this doesn't at all seem to fit with the eye-popping colors of the miniseries. People who got this book because they're enjoying The Children's Crusade, myself included, would be better served to skip it.

As a run-up to the next big event, honestly, its not off to a great start. Hopefully, Loeb will find a way to pull it out in the next three issues.

Interestingly, as each month ticks by I find myself getting more excited about Avengers Vs. X-Men. I think the idea and possibly the book itself has a lot of merit. But my excitement is growing in spite of this prequel miniseries, not because of it. If all I was basing it on was this, I may pass on AVX entirely.

Its a little early, but this book easily could have been a Halloween special. No matter how you want to read it, though, its a real treat and a nice counterpoint to the bleaker books that often dominate the superhero landscape.

This is a great issue of a great comic book. Its not just the best Batman-family title youre not reading, it may well be the best Batman-family title period.

Pere Perez gives us wonderful artwork and Dustin Nguyen gives us a wonderful cover. Have I said the word "wonderful" enough? This is a fine, fine title, and although I've got every faith in Gail Simone, I'm going to miss Bryan Q. Miller's Batgirl tremendously.

Stephanie Brown has totally come into her own as Batgirl, and even if she shows up in the new DCU as Spoiler again, it'll feel like a step backwards for her. Pere Perez does good work here. The armored villains don't look particularly original " they're more or less generic armored guys " but the battle is good and all of the guest stars are exciting and dynamic. This is one of those books that will be sorely, sorely missed.

Gail Simone, who will take this title over next month with Barbara, has made it very clear that she believes Stephanie Brown deserves a place in the new DC Universe. I hope we find out what that place is, and soon, because shes completely earned it. Bryan Q. Miller has proven what a magnificent character she can be, and theres no reason she should be kept on the shelf for very long.

Good issue, great art.

It's a good, entertaining issue that carries some real meaning to it.

It's not the greatest Batman story ever told, but that's okay. It's not the "last" Batman story, either, even if it's the last issue. But it's a good place to look back at the sons of Bruce Wayne, smile at the family, and take a leap of faith into the future.

I really liked this first issue. This book is easily in the upper echelon of DCs New 52 thus far.

Someone recently asked me which book I thought was the best of the New 52. Try as I might, I couldnt decide between this title and one other but make no mistake, if this isnt the best book DC is putting out right now, its in the top two.

I dont have the words to tell you how much Im enjoying this book or how much Im looking forward to the upcoming Batman-family event spinning out of it. This the Dark Knight at his finest.

Next issue promises the finale to what has become one of the best Batman stories in a long time. Snyder is poised to go down in the books as one of the all-time great creators on this series.

In the end, this creative team has outdone themselves. This is the best Batman story since well, since last years The Black Mirror in Detective, which itself was the best Batman story in years. In short, this truly is Scott Snyders era for Batman. Hes doing better work with this family of characters than anybody else has in a very long time, and we can only hope he doesnt go anywhere any time soon.

It works as a story, and the main villain is particularly weird, but I can't really give the book full marks. Much of the strangeness seems like it's there purely for the sake of being weird, and not necessarily for any story purpose. That makes it a little harder to recommend, and even though it does lead to a particularly memorable finale, it still has the mark of a fill-in issue, one last 20 pager turned out to fill in a publishing slot before things start all over again next month. It's not a bad book, but it's not one that people will keep talking about.

Batman not being a character that needs too much introduction even to the layman, the important thing here is that the book establishes Damian and shows the nature of their relationship. It works very well I that regard, clearly explaining who Damian is and how he and Bruce get along (not that well). New readers may be a bit confused about why there's a Russian Batman, but beyond that there isn't too much of a learning curve. Patrick Gleason brings some of his best work to this issue " clean, bold, exciting pages with plenty of action. Batman fans should be perfectly satisfied with this one.

Good issue. Its fun to see the Robins in conflict with each other, and sets up plenty for the future.

Im getting past the art here because I really enjoy the story, but I do wish this comic looked better.

Ryan Benjamin's art is growing on me. I like his version of the League, and his world is solidifying, creating a nice balance between the animated style of the cartoon and the more realistic style of the DC Universe. There is good in this comic, to be sure, but it feels like a lot of filler to get us to the main event next month.

While still not as good as last years miniseries, this issue is a step up from last month.

The book stands on its own, and that's probably for the best. Eduardo Pansica is this month's artist, and I like his style for this book. It's not as cartoony as some of the other artists who've worked on the title, and in fact, has something of a "late 90s" feel to it" y'know, after the shoulder pads and trenchcoats had run their course and before artists felt a need to make every panel look like a photograph. When they were just trying to draw comics that told the story. Remember that? Anyway, I dig it. The issue as a whole is okay.

A very strong issue and a nice way to start the new status quo for the Batman family.

Im really enjoying this title, and this experiment in the Batman universe. Lets see where it goes.

Its hard to say for sure, but I get the impression from reading this issue that weve been introduced here to one of the key characters for the upcoming battle with Leviathan. It doesnt go down how youd expect, though, and thats a good thing.

Fine first issue, and Im very happy that Jaime Reyes has a home again. The only thing I dont get why did they move him from Albuquerque to El Paso? Was it just to make it easier for the reviewers to spell?

What happens in this issue is the sort of thing that will have major ramifications for our heroes, but feels like a very natural and even important progression. It's also the sort of thing you just couldn't do in most DC Universe books " the time-travel nature of this story opens things up for that quite a bit. Very strong ending to this issue as well, with everything set up to conclude the story in the next two issues and pave the way for the future (and, of course, Flashpoint).

I liked this book, and I like having Jurgens piloting this characters title to its conclusion. I just hope next month sends Booster out with a bang.

There artwork is fine " in fact, this is some of Leonardi's better work with these kinds of high-power characters as opposed to the street-level guys, reminding me of his days way back on Spider-Man 2099. It's just a shame that Jurgens and Rapmund couldn't cross the finish line alone, and I think it'll make this story a bit more disjointed when read in collected form. Still, it's a good issue, and it's entirely possible that the end gave us our first real glimpse (and I do mean glimpse) of the New DC Universe, which makes it interesting in and of itself.

Im not big on the Hawkman stuff, but the rest of this issue is really good, and Im anxiously awaiting the big reveal.

Hawkman aside, this issue really does the job. Its set up the future of the storyline and gets you into the different stories of (almost) all of the main characters.

This issue is a nice boost to one of this titles weaker storylines, but I hope we get back to Firestorm and a bit more from Deadman soon.

Strong issue with a pair of good tension points to leap into the next story.

In summary: great story, uneven art, recommended, but not as highly as it would be otherwise.

The artwork here is very good some of Gleasons best in this series, in fact. I really like his design for the Green Lantern Jonn, and while his geriatric Flash looks sort of odd, he makes up for it with a pretty gruesome double-page spread that works in the context of Jonns hallucination. I do wish, though, that there was more communication between the interiors and cover artists of this series. I know that the covers are usually finished long before the rest of the book, but it bothers me a little that David Finch depicted Batman and Wonder Woman in costumes that dont appear in this issue at all, and that his design for the Green Lantern Jonn isnt even close to what we get inside. Am I nit-picking? Probably, but it just kinda bugs me.

Its no surprise that my enjoyment of each individual issue of this title seems dependant on how much I like the stories featured therein. This issue is one of the better ones.

Theres an interesting cliffhanger ending, and I get the feeling (with just four issues left) were seeing our heroes being drawn together for the grand finale. As such, its working well.

With only three issues left, its hard to see how theyre going to wrap everything up the Star City Forest, Deathstorms army, the missing Aquaman and Hawks, the end of Deadman's quest, and the assorted returnees who have yet to accomplish their missions. But if anybody can end it well, this is the team to do it. Heading into the final stretch, Im feeling great about this story.

Gary Frank and Nathan Eyring nail a really great cover, topping off this package. Going into the final two issues, Brightest Day is really satisfying.

Its terribly difficult to talk more about this issue without getting into spoiler territory, so Ill leave you with this. I thought it was a very solid penultimate issue, I feel like the threads weve been following are converging very well, and I anxiously await the finale in two weeks.

Overall, this is a fine ending to a very good series. Well done, Johns and Tomasi.

The book is pretty good, and people particularly interested in how the Vertigo characters are going to be drawn back into the DC Universe will especially find it interesting. With the knowledge that Swamp Thing is getting his own book in September and Constantine will be joining Justice League Dark, it seems this is where that groundwork will be laid.

We've got a good story here, though, that's working well to bring Constantine and Swamp Thing "home."

The inclusion of Deadman and Madame Xanadu makes it feel like the book is intended to serve as a prologue to Justice League Dark as well, which I personally find more interesting, but I sympathize with those more interested in the Swamp Thing connection. The artwork, like the writing, is serviceable but not as sharp as one hopes it would be. I'm kind of disappointed in how all this wrapped up, but I take heart in the knowledge that, chances are, the relaunch books won't rely on any direct knowledge of this storyline in any case.

Im really a fan of Mahmud Asrar, and this issue will make it clear why. Hes got a very strong storytelling style, he does dynamic action scenes, and he puts some good emotion on his faces. Some of the inking is a little heavy here, but not so much as to really hurt the book. This doesnt appear to be required reading to follow the event storyline, but if youre looking forward to the new adventures of the Atom in Adventure Comics, this is probably a good book to start with.

The book serves a strong wrap-up to Season Eight, but the last few pages also give us a clear feeling for Season Nine, which Whedon promises will have a more back-to-basics approach. Less of the big, world-altering stuff in Season Eight, more character stuff, and more of Buffy doing what she does best, which is whale on vampires. Who doesnt want to see that? Ive enjoyed Season Eight, and really look forward to Season Nine.

Still, with this series serving as season eight, this issue feels very much like a deleted scene from the DVD set. Its interesting, it adds a little bit, but is it really essential? No.

Brian Clevinger put together an interesting group of characters, and it's a shame we won't get a chance to see them develop. Gurihiru, perhaps best known for his work on several Power Pack miniseries, give the book a nice, light, animated style that feels perfect for younger readers. I really wish there was going to be more of this series, but I'll take this one-shot for what it is. If you didn't pick it up, go out and get it before it's gone.

This book may work for some people, but Ill probably pass on continuing with it. A valiant effort, though.

Im not dropping this book, but thats more out of loyalty to the writers and characters than anything else. Im hoping the next four issues will redeem this title and prove to me that its not the carbon copy it feels like at this point. I want to be wrong. Time will tell.

True, it's very difficult to come up with something totally original in this day and age, but when it feels quite this obvious, that's a problem to me. Still, I had fun with this ride, and I look forward to joining Herc and Amadeus on the next stage on their adventures.

There have been a lot of high-profile launches from Image lately, and a lot of them have been really good comics. But dont let this one get lost in the shuffle. This is the best first issue Ive read from Image since Morning Glories. If youre looking for a different take on superheroes, something that can take you by surprise and gets you ready to come back, this is the book you should be reading.

The good thing about this book is that there really is some great content here. Unfortunately, except for the Concrete story, the big-name stuff isnt what works for me. Its the lesser-known creators and more experimental characters that make these 80 pages worth the price.

Ive loved every page of this series, and I cant wait for next issues conclusion. And knowing that therell be an issue five coming up afterwards just makes it all the sweeter.

This is Boom!s best Disney title, and thats coming from a healthy stable of great comics.

This issue brings the titles second story arc to a brilliant conclusion. Please, Boom!, keep em coming.

This is one of the best creative teams working in comics, consistently putting out one of the best humor comics, the best comics for young readers, and the best old-fashioned superhero adventure any fan could want to read.

Once again, I love this book, and I love how the B-plot seems to have flowed into what will likely be the A-plot for the next issue or two. Its an unexpected path for Darkwing to take, but it should be really, really interesting.

Once again, weve got a fine issue that continues to advance this series nicely.

James Silvani continues to be one of the greatest artists ever to chronicle the Disney ducks in comic books, although a bit of unfortunate page placement spoiled the surprise about Launchpad's campaign manager. There's a great set-up that would have been hysterical if the reader had to turn to the next page. Instead, though, it's a facing page, and the glimpse of the character there was enough to spoil the joke. Sad, and I imagine it's not Silvani's fault. But still, if that's the worst thing you can say about a comic book, that's still pretty darn good.

As satisfying as the end of this story is, the last few pages are really exciting. Sadly, Boom! Studios's time with the Disney license is almost up, but they're going out with a Darkwing Duck/DuckTales crossover, and the finale of this book lays the groundwork for that nicely, not only bringing in the DuckTales heroes, but also the return of one of the greatest Disney villains of all time. In bittersweet excitement, I await the finale of this great comic book.

Wonderful issue that any fan of this comic will want to pick up.

This issues second feature puts the spotlight on the original Seven Soldiers of Victory. An old foe challenges them to a battle, and the soldiers split up to take on his minions. Here we see that Len Wein has taken the old formula heroes split up, get together at the end and given us a quick story told in snapshots. Whats really impressive here is J.H. Williams IIIs art. Each of the snapshots of the Soldiers in solo or dual action has its own different look and feel, as if each panel was created by a different artist altogether. There seems to be a deliberate attempt here to invoke what Grant Morrison did with his revamped version of the soldiers, and it works pretty well.

Good issue, and if you can handle the continuity question, its a lot of fun.

The first story is still pretty good, but the backup is a knockout.

Its a good book, but I still feel its not quite where it could be, here at the halfway point.

Howard Porter is doing very good work with this book. Most of the characters are pretty much spot-on with their current DC Universe counterparts, and those few which have undergone a slight redesign for the game look good in his art style. I'm enjoying this book, but I really hope the "prequel era" is only a temporary one.

This is a very strong first issue, and it actually bums me out a bit that this is only a one story-arc sort of thing. I really hope that DC Universe Presents winds up in the old Showcase vein of being sort of a try-out book. This is a Deadman I want to read more often.

I dont know if this book will bring the Challengers back in a big way, but its not a bad introduction. The real question is where they will find the room to grow.

If youve never read a Dial H story before, fear not. Theres nothing in here that beholds you to the history of the series. It can very easily be looked at as a self-contained comic, full of bizarre ideas and weird magic, the sort of thing thats a lot of fun to read about. The comparison to early Vertigo is deliberate. This book reminds me of Grant Morrison Animal Man and Doom Patrol more than anything else, and I mean that in a complimentary way. If you enjoyed those comics back in the day, give this one a try now.

This is turning out to be a great, bizarre little story that works very well.

It doesn't hurt at all that Mark Buckingham handles the art here. Between this and the current Fairytale Life miniseries, he's really proving himself one of the finest Doctor Who artists in the business, particularly with the Matt Smith incarnation. He handles the three characters from the TV show really well, giving us characters that look like the actors, but doesn't lose the energy and life of a comic book page the way a lot of these comics based on TV shows tend to do. The book is just fun.

Good issue, but the artwork hurts it.

Besides just giving us a scenario that is deliciously Who-vian, Sturges is masterful at creating authentic dialogue between the Doctor and Amy. The swift repartee and back-and-forth between the two of them is just a perfect recreation of the chemistry from the TV show. Yates does a very faithful reproduction of the two actors and a very good job of placing them into a medieval setting, and we get a lovely Mark Buckingham cover to top everything off. The book is a lot of fun, and a really nice supplement for fans of the Doctor.

The only flaw I can find in Shearer is that the fantasy stuff is a little more polished than it should be " it's very suitable for the sci-fi end of the comic, but the medieval village should be a bit grimier, a bit dirtier. Still, it's a fun tale that fans of the Doctor will lap up happily.

characters that don't at all resemble the actors they're supposed to represent and a lot of stuff, awkward panels. Matt Smith's Doctor is one of the most energetic ever, but these panels feel very static, like still photos rather than moments in an adventure. After having such a strong script, the artwork here at the end pulls the score for the book " and the miniseries " down considerably.

In this one, Donald and the boys get their hands on an underwater camera" good for a little scuba diving, perhaps? But Donald has higher sights " getting the first-ever photo of the Loch Less monster. All three stories in this issue are really funny, and all three have fine artwork as well. While there's nothing here that I would call a crowning achievement, it's about as close as you can get without holding a ceremony.

The story is pretty standard for the time, with Donald and the boys getting caught up in a search for pirate treasure, and hitting some pretty funny moments along the way. It's of particular interest that the book includes work from Disney (and later Woody Woodpecker) animator Jack Hannah, who did some early work with Carl Barks back in the day. It's a fun issue, but the strangeness of the first story makes the reading just a tad awkward.

The "duck versus nature" theme continues here, as he finds himself going to war with some crows who have nested near his home, causing calamity for him and leading him to cause even more calamity in the attempt to drive them out. Two funny stories make for a good issue of this venerable magazine.

But Eric Shanower and Skottie Young bring the charm that made their first three volumes hits to this next story, giving the underground world some excellent visuals, and making the scenes of the characters walking on air (which honestly never made sense to me, even in the magical setting) look comprehensible. The characters grow and develop through Young's fine visual "acting," making Zeb and Jim the horse fit in well with the established world, and bringing the proper sense of arrogance to Eureka to make her stand out amongst the rest of the Ozian creations. Very good art, wonderful script, making this a fine interpretation of the story.

This issue is a really strong return for the Dynamo 5 team, the introduction of Notorious works well, and by the end Im anxious for issue two.

This has been a great story that really proves Moore's versatility as a storyteller. I'd be a little more bummed out that the book is coming to a close, but he's already announced his next series, and if he does as well with a book in the horror genre as he did in sci-fi, I've no doubt I'll get right back in before you have a chance to blink.

With two issues left before the big 1-0-0, Bill Willingham isnt resting at all. I dont know if Ive ever anticipated an anniversary issue with this much excitement.

Its a huge package 100 pages for ten dollars but its also a book thats worthy of this superstar treatment and, for the most part, it earns it. In reading time, if nothing else, this book gives you more than your moneys worth. Fortunately, the stuff youre reading is also, for the most part, great.

I'm especially excited to have Eric Shanower doing the art for this issue. Shanower, of course, has written and illustrated several original Ozcomics, plus he's done masterful work adapting the Baum novels over at Marvel. His inclusion is a nice Easter Egg for fans of his work, and that work is really beautiful to boot, a perfect match for other, more prolific Fables artists. This issue is an excellent way to start Fables' second 100 issues.

I don't know if there's any comic on the shelves that has managed to transform as many times as Fables has without losing the inherent wonder of what made the book work in the first place. Certainly no others have done so with the same writer at the helm the entire time. Well done, Mr. Willingham.

Another fine issue of Fables, and Im stoked for next months conclusion.

Giving regular artist Mark Buckingham a break, this issue is drawn by Terry Moore. The creator of Strangers in Paradise and Echo may not be thought of as a fantasy artist, but his style is really perfect for this book. He manages to depict a beautiful fairy tale world, some rather realistic violence, and a main character that winds up particularly haggard and beaten by the end. I know he's got a new series launching in a few months, but I hope Moore finds time to pencil an issue of this book (or Fairest) sometime in the not-too-distant future, because he's perfect for this.

Mark Buckingham is in top form here, with fine artwork and gorgeous layouts and border artwork. This book has long been one of Vertigo's best, and this is a great way to begin the next era of the title.

I absolutely love how much Oz lore Bill Willingham has brought into this title, and I particularly like the fact that he didn't settle for the most well-known characters, but instead has crafted a story starring the likes of Jack Pumpkinhead, the Sawhorse, the Glass Cat, and Bufkin (world's greatest flying monkey). I also like the way Mark Buckingham depicts these characters. Jack is understandably reminiscent of the Merv Pumpkinhead character from Sandman (although Jack, of course, came first by many decades), but that's hardly a complaint. The newest direction for Fables is not only intriguing, but it's also wonderfully entertaining, which is the perfect combination.

Neil Edwards and Paul Neary do wonderful art here, with scenes that have the taste and energy of a great science fiction movie. At its best, thats what this book can be, and thats what this team is giving us. Im almost surprised at just how much this comic book has made me smile over the past few months. This is the Fantastic Four as they should be.

This book has rocked since Hickman took over. Even if one of the four will be stepping out of the book soon, I have faith that hell make the journey worthwhile.

Its hard to get particularly worked up about any comic book deaths any more. Even with a writer as good as Hickman, on a title as good as this one, you know its only a matter of time before the deceased is back among us, so all we can really judge it on is whether the story itself is effective. So far, it is. So I look forward to the end of this title, the relaunch as FF, and the inevitable return to Fantastic Four just in time for issue #600, at which point FF may or may not stick around as a title focusing on the Future Foundation. Im just speculating at this point.

Is this an irreversible death? No. In fact, before I closed the book I thought of three different ways the dead character could come back, and I cant bring myself to believe that the character wont come back, most likely in time for FF to return to the original numbering just in time for Fantastic Four #600. But lets be honest here there is no longer any such thing as an irreversible comic book death. Bucky Barnes and Jason Todd have broken the seal forever. The only thing that really matters is, for this issue, for this story, for the run of this creative team, does this story work? And the answer to that is an emphatic, enthusiastic, and unqualified YES.

Great issue, part of a great storyline, and it aint over yet.

This is, simply put, an excellent issue. Hickman is going to go down as one of the all-time great Fantastic Four writers.

This is, to put it simply, an awesome issue. Hickman and Garney are at their best, the characters have never felt truer to themselves, and this may well be the greatest Thing story of all time. And youre telling me Hickmans only sticking around until the fall? Crap.

Overall, this story is just okay. Its not bad, but it doesnt blow me away either. If not for the truly incredible work Jonathan Hickman is doing on the main title right now, Id probably rank it a bit higher, but it doesnt quite live up to that series, and suffers just a tad by comparison.

In the end, thats probably what makes this book weaker than anything else not that its bad, because its not, but because it feels inconsequential. And that, in the end, may be even worse.

Interestingly, for a crossover that began as a Thor/Captain America pitch, the best stuff here comes from Iron Man, who makes a choice that one would hope he'd never have to make. And unlike his mustache-twirling villainy during Civil War, here he actually behaves rationally and in-character. Stuart Immonen's artwork is as masterful as ever " perhaps even more masterful than ever, with the addition of stellar colors from Laura Martin. The book looks great and it reads okay. It just needs a bit of a boost in the right direction.

Perhaps this issue will look better in the scope of the entire series. Perhaps by the end some of the elements included here (such as the aforementioned FF revelation) will factor into the end of this crossover in a significant way, which would make this issue feel more justified. As it is, though, I cant help but think that a lot of this issue was padding that could have been tightened up.

I picked this book up because Im a fan of several of the characters involved and hoped it would be a little oasis of fun in the midst of a sort of bleak event, and theres at least an attempt at that here. Overall, though, the book simply falls flat.

The big plus is the fact that we've only got two art teams this issue, instead of four, and unlike previous issues the changes in style isn't dramatic enough to be distracting. Trouble is, the art isn't especially great either, even with Tom Grummett handling layouts for the first half of the book. On the plus side, at least Howard is sporting his classic look again instead of the hideous redesign from a few years ago, which he was sporting in issue one. I was hoping this series would give us the lighter side of Fear Itself, but with one issue to go, it's been nothing but a convoluted mess.

The next stage in the saga of the Fantastic Four well and truly begins here, and while the death of the Human Torch will be a tough act to follow, its hard to imagine any creative team that could do it better. Call the book whatever you want, its still fantastic.

Great issue of what is probably Marvels best ongoing series.

Steve Epting walks a nice line between wild sci-fi and dark superhero artwork himself, making him the logical choice for the title. It's an intriguing idea, and there's plenty of room here to explore all corners of the Marvel multiverse. I'm really glad to see Hickman getting the chance to reach out and take chances with his stories.

Again, we get a great issue of a great comic. In fact, its Marvels best title, and one of the best titles in comics. And yes, I know I say that about FF an awful lot. I promise to stop saying it as soon as it stops being true.

Visually, I like the idea that the Future Foundation uniforms are adaptable, although I'm not entirely sure why that is. Regardless of why, the variants Reed and Spidey wear this issue are cool, and it's still terribly weird to see the likes of Dr. Doom, Diablo, and the High Evolutionary sporting the same colors as our heroes. I'm loving this title even more now that we've finished our two-issue sidetrack into Inhumans territory and back to the characters that brought me to the title in the first place.

I'm missing Sue and Ben in this story arc, but the story is proceeding just fine without them. Steve Epting's art once again works very well with the story, particularly the alternate universe Reeds. Even though they've all got the same face, Epting uses more than just the costuming to differentiate between them. They wear different expressions and different emotions " they look like different men. Great book.

The writing, as has always been the case with this title, is sublime. The art deserves much, much better.

This, along with Fantastic Four, may be the best-written book in Marvels stable right now. Until the art problem is fixed, though, it cant be one of the best titles overall.

This is such a strong book that its a shame to see the huge gap in between issues hurting it so badly.

A small concern about a great issue. Bring on the road to Flashpoint!

Really, really nice way to kick off this story.

As a first issue, its almost entirely set-up, but thats really to be expected of these event stories. It has me curious about what brought the DCU to this point and even more curious about what changes (if any) will bleed over to the restored DCU. At this point, thats what the story needed to do.

As last issue did, this one ends with a doozy of a cliffhanger, although even in this universe, I find it hard to believe that it means exactly what it appears. Still, if nothing else it really helps to accentuate the fact that the rules have been thrown out entirely in this universe, and with a new DC Universe coming around the corner, that seems more important than ever.

This story really has gotten better with each issue, and with next issues finale prepping us for the big relaunch in September, this seems like the rare crossover that delivers on the promise to change everything.

If youre looking for a book that breaks down each and every nitpick and tweak to the DCU, you wont get it here. This wont explain why Superman isnt wearing red trunks or Wonder Woman cant make up her mind about the pants. But it is a very satisfying way to explain that the whole universe is going to be a bit different now, and its heartfelt at the same time. It is, in fact, a very good way to begin something new.

I liked this book, although there needs to be an effort to show just how it lines up with the main series.

Felipe Massafera's artwork isn't bad, although I find I like the look of the issue better when it's in outer space (or at least dealing with the alien characters) than I do on Earth amongst the humans. His Abin Sur and Sinestro look great, Cyborg and Hal Jordan aren't quite as sharp. There are good moments here, but not great ones, although the tie-in to the Flashpoint: Hal Jordan miniseries is appreciated.

Rocha and Massafera deliver on the artwork " the cover is a knockout, and the interior pages aren't far off from that quality. This is one book that really looks great. It was a good chapter in the overall Flashpoint saga. I just hope it wasn't a vital one.

This isnt one of the high-profile Flashpoint spinoffs, but I think its my favorite one to date.

Im really liking this story I just wish the art was more solid.

Once you get past the fantastic Cliff Chiang cover, the art doesn't quite live up to the story. Still, I think this may be one of the best Flashpoint spin-offs, especially in regards to pure character work.

This is a story with no heroes and more than its share of villains " sad, powerful, and a solid lead-in to the finale of Flashpoint. Vicente Cifuentes definitely holds his own on the art, delivering a very strong battle sequence between Arthur and Diana, making for a book that's visually engaging as well as moving to read. This book, along with the Wonder Woman title, is really where the circumstances of the world are given shape, and it's made for a very strong story all around.

This is the most bizarre Flashpointbook Ive read yet, but its also one of the most entertaining. If youre interested in the new book coming in a few months, check out this miniseries itll probably help you decide if its to your taste or not.

Andy Smith and Keith Champagne easily weave together imagery from old-school horror movies and modern day superhero books to create a title that looks absolutely unique ii the sea of Flashpoint titles. I know that the new series isn't going to be exactly like this title, but this book has made Frankenstein: Agent of S.H.A.D.E. one of my most-anticipated books in the new DCU.

I liked this issue, but I didnt love it. Im looking forward to the next two issues to see where it all goes.

The book " and honestly, Flashpoint as a whole " does lose a couple of points for using real-world politicos. We've seen it in several titles, but it's more prevalent in this one that most of the others. It's a technique I've never really liked, as it serves to date the book terribly a few years down the line. But that's no doubt a commandment from on high, not necessarily a choice of the creative team here. They play with the toys they're given, and they do a decent job.

A military action piece like this one demands something with a bit more energy, and Hal doesn't get all he needs. I do give Adam Schlagman credit for not going the easy route, the one we see in so many Elseworlds books, where the character ends up in essentially the same place he is in the regular DCU. That's a boring route, and this story goes elsewhere. I just wish I didn't know the destination before the journey is over.

Story-wise, this is one of the better Flashpoint spin-offs. The artwork keeps it from being a knockout.

Gates manages to close a circle here, giving Bart much-needed contact with Barry and a chance to make things right between them before it's all over. The artwork by Oliver Nome is solid, probably the best artwork this series has had yet. Scott Kolins' pages, however, are too thickly inked, too heavy, and in stark contrast to the rest of the pages. Still, it's a worthwhile finale, not just for this miniseries, but for the Flash Family of the 80s, 90s, and 00s.

Still, its a strong book, and definitely one of the better Flashpoint tie-ins.

Lois does take a bit of a back seat to the Resistance and their revelations here, but hey, they're the co-stars of the book. That's acceptable. And people curious about how the Wildstorm characters are going to factor into the new DC Universe will probably find some very interesting elements here. I also like Gianluca Gugliotta's artwork very much " very dynamic, very energetic, very action-packed, even if Jekyll's transformation to Ms. Hyde is kind of Hulk-esque. All in all, this title has been very satisfactory.

The artwork is good " clean, strong colors, and a fine battle sequence that was fun to read through. The only complaint " although it is a big one " is that in the end, Lois really kind of got the short end of the stick.

Its not the best of the Flashpoint books by far, but the ending is intriguing, and I look forward to seeing just where theyre taking this concept.

This is a nice issue, filling in a lot of blanks about this weird new universe.

The story is solid, the artwork by Gene Ha is good, but not great. There are interesting effects in the book, mostly in the "x-ray vision," and it's nice to see an in-panel homage to the classic Action Comics #1 cover, but in the end the book looks a little too rough for Superman" even a Superman that really isn't. I liked it, overall.

Like I said, this probably isnt a terribly important issue, but its a hell of a lot of fun.We don't yet know which (if any) new Flashpoint characters will make the transition to the new DC Universe, but I rather hope the Canterbury Cricket finds a home somewhere.

This is a good story, but if you come in expecting a travelogue of the Flashpoint Universe, you may be disappointed.

The transformations of each of these characters is intriguing, and leaves you asking questions about just how they got to this state. And that's pretty much what you're supposed to want to know. This doesn't answer the question of just how this quest will factor into the final confrontation of the Thirteens, of course, but that's a question for next issue. Eduardo Francisco does good work, but not great work. Some of the pages and panels are a bit too dark, too heavily inked to be really clear, a frequent problem when I see some artists ink their own line work. But he tells the story clearly, and the new versions of classic characters are all immediately recognizable. It works, and it tells us a lot about the different heroes of the DCU in the world of Flashpoint.

It's not a brilliant way to do it, it but it's at least clever enough to explain why one should want to read this story. Eduardo Francisco's artwork isn't bad, although a little slight in places, and while I'm not Brett Booth's biggest fan, I do think that he put out a really good cover for this finale. Overall, I liked this series, and I think it helped make the world of Flashpoint seem a little more real.

Very strong issue, and probably the most important miniseries yet when it comes to understanding the world of Flashpoint.

Dan Abnett and Andy Lanning are two of the most reliably entertaining writers working in comics, and this miniseries is no different. But sometimes the artwork just isnt up to the same standard as their stories.

The scenes of destruction are probably the high point (which I realize even as I type is a very unusual thing to say). Not a bad book, but considering how it flows into last week's issue, it doesn't really feel like a satisfying ending to the miniseries.

There's a sense of energy and excitement that really appeals to the lover of old-school monsters in me, and like many of the New 52 books, there are subtle links and clues in this title that explain a little bit about the shape of this new universe. Alberto Ponticelli's style works well for this series. I don't know if it would fit a more traditional superhero title, but with a book like this one, all about the monsters, it's a decent fit that works for the characters. All in all, this is one of my favorite new titles in the relaunch.

Like approximately 50 percent of all Futurama stories, we kick off this issue with the crew being given a package to deliver to a distant planet. What they think is a shipment of food, though, turns out to be a highly volatile substance ordered by a group of cannibal robots attempting to cast off the shackles of an evil corporation controlling their destiny. Truly, only in Futurama can one type such a sentence. Anyway, Fry, Bender and Leela set out to free the robots and both destruction and hilarity ensue. The problem with this issue is that it actually gets a little too broad for the humor to be effective. With a set-up like this, Eric Rogers is set to mock any number of war or disaster movies, but instead of focusing on any specific targets, he gives us a kind of generic sci-fi story. There are good puns and gags, but nothing to make this story stand out, especially in contrast to other, better Futurama tales. --Blake M. Petit

Dan Schoening has whipped up a whole new style for this series. You could call it "cartoony," but he's not imitating the aforementioned animated series at all. It's a look of his own, based on the five primary actors from the movies, giving us characters recognizable as the Ghostbusters and Janine, but still existing in a comic book world that meets the requirements of that sort of medium. I've wanted an ongoing series ever since IDW picked up the rights to this series a few years ago. Based on the first issue, it was worth the wait.

There's some truly awesome stuff going on here, wildly entertaining, funny, exciting, and powerfully visual. I love the fact that Burnham and artist Dan Schoening are using the comic book format to tell this story, but these first two issues could very easily have been the pilot for a new, more adult-oriented animated series featuring these classic characters. I've always loved the Ghostbusters, and IDW is treating them better than anybody has in many, many years.

Im still waiting for an ongoing series from IDW. Weve had two solid miniseries and this is the third holiday special in a row (following Christmas and Valentines Day). But when, on when, will we get some busting on a monthly basis?

The end of the book is really solid and sets up a small change to the status quo of Ray Palmer, which probably would have played out a bit more had the series continued. Jeff Lemire did some fine work with the character, though, and I certainly hope he gets to play with him again sometime soon.

Considering that there's one more chapter to go and the heroes will win if even one of them passes the test, the conclusion here is pretty foregone. I like Andres Guinaldo's artwork " he does a good Catwoman, and the sheer destruction that we get is pretty effective. The issue is all right, but ultimately feels kind of superfluous.

Very solid issue, a nice part of Brightest Day, and a fun read.

If I didn't know just when Brightest Day was going to end, it would be harder to stick it out. As it is, I'm willing to wait with the expectations that at least the biggest such questions will get resolved in the next few issues. Points to Krul, though, for writing Etrigan as a rhyming demon. I hate when writers cop out and don't rhyme, it's just not Etrigan without a snappy verse. On the art side, I really like Diogenes Neves' artwork. The forest scenes are beautiful, and Etrigan looks more menacing than he has in many a day. Fingers crossed that once Brightest Day ends and a permanent direction for this book is chosen, it'll be a strong one.

The Galahad stuff is interesting " in fact, he's become a much more interesting character since we found out the truth about him " but that doesn't automatically make the book work. Diogenes Neves gives us a really good book from a visual standpoint. I like his Ollie, and his work on the Swamp Things and other guest stars is strong as well. This book, simply, could be better.

One of the best issues of this title since Brightest Day began.

Very strong Brightest Day chapter that gives us a break in the main action before we ramp up towards War of the Green Lanterns.

This storyline has done a great job of building up those new characters, exploring a little more about how they work. Doug Mahnke, who's been doing great work on this book for close to two years now, is doing some of his best work now. The spread where Hector Hammond, using the Orange Lantern power, begins digging into the minds of the heroes is really chilling, and revealing at the same time. It's odd, just how much the desires of Saint Walker, Larfleeze, and Atrocitus seem to resemble each other" and Indigo-I's desire just raises more questions. Fine ending to The New Guardians, and I'm pumped now for War of the Green Lanterns.

Johns has done a fine job of bringing the Lanterns to a breaking point. Im terribly excited to see where he takes them next.

That doesn't mean it isn't exciting, though " it most certainly is, and Doug Mahnke's artwork makes it even better. This is a great way to kick off the storyline.

The storyline is working for me, in short, and by a large margin.

A great chapter of a really good storyline. I look forward to next months conclusion in this title.

It would take someone whos never read comics before to think the way things end this issue are permanent, Ill admit that. You cant look at stories in an ongoing superhero universe as ending, just finding a plateau upon which to rest. As plateaus go, this is a really good one. I really cant wait for September, to see where this story is going to go next.

Doug Mahnke is still on the book as well, and he's still doing good work, although for the first time I'm noticing that his Earthbound scenes aren't quite as good as those in outer space. The ordinary humans, the talking heads stuff doesn't look quite as good as the scenes of action, in outer space, or with assorted aliens. Not bad, just not as good. It's a very nice launching point for this book, highly entertaining, and a relief for fans who didn't think there was anything wrong with this franchise to begin with.

Although this title shifted gears with the New 52, it really hasnt skipped a beat. It could easily have continued on from the previous series without any substantial changes to these first four issues. But thats fine if its not broke, dont fix it.

Strong issue overall, and a nice set-up for the next storyline.

This book has been just fantastic for a very long time now. Its nice to see it getting the recognition it deserves.

Tyler Kirkham's artwork isn't bad " his linework is fine and the action scenes work out well. Some of the inks by Batt have a tendency to weigh down certain images, though. There are interesting visual cues worked in as well, in particular the fact that Hal Jordan wears the yellow Sinestro Corps ring on his left hand instead of the right, where he wears his Green Ring. Whether this is a plot point or just a character one, I find it particularly intriguing. This story has been going well, and I look forward to the next installment.

Tyler Kirkman's artwork isn't bad at all, and the scenes where John has to combine his current Indigo power with that of another Lantern at the end makes for a chilling visual. Excellent issue, shocking ending.

Joe Prado, Daniel HDR and Kolins himself all do solid work. The odd man out here is Freddie Williams II, whose chapter shifts drastically from the traditional look of the other chapters to more of a painted feel. To be fair, this is some of the best work Williams has done in quite some time (as people who remember his somewhat underwhelming run on Flash will attest), but the look stands in terribly stark contrast to the rest of the book. I rather wish either the whole book had been done in this style, or none of it. It's nice to see this title end with the Corps as a whole. It's fitting, it's as it should be, and it leaves things in a good place to begin again in September.

Fans of Guy and John will really enjoy this book. Im just keeping my fingers crossed that itll be more than just the two of them once the title gets going.

While the story struggles a little, Fernando Pasarins artwork helps. He throws down some great action scenes, images of the Lanterns being completely overwhelmed by their adversaries, struggling to stay alive. Visually, the book is firing well. Story-wise, Tomasi needs to tighten things up a bit in the next story arc.

Overall, its a good issue, but not anything groundbreaking.

Overall, its a fun issue. If youre pumping yourself up for the movie, its not bad at all.

This is a good start, but I cant help feel it would be a better middle.

The script, though, is really good. Guy Gardner fans can eat this up.

Much as Ive loved this book, that one thing is really eating at me. Can you tell?

Very good issue, and the quality of this crossover ticks upwards a hair.

Fine penultimate chapter, and I cant wait for the grand finale.

But for those of us waiting for the aftermath of the war, it really feels like were treading water here, waiting for the wave that should have hit by now.

Tomasi is really taking advantage of the outer space setting of this title in the last few issues, giving us stories that wouldn't work on Earth or, for that matter, on most other planets. Seems like the Green Lanterns are going to finish off their current run with some solid one-off stories that build on what we've had before without setting up stuff they won't have time to finish. That's the right way to do this.

There's a lot of good material here, the sort of thing that I want to see explored and examined in greater detail. Tyler Kirkham's artwork isn't bad " his Michael Turner influence is clear, particularly in the faces of the female characters .But he tells the story well and easily handles the different alien body types. I'm not a fan of Kyle's shaggy hair, but I've never exactly been in fashion, so what do I know? Good stuff.

This is a really weird comic, but its one I enjoyed greatly. I look forward to seeing where this story takes us.

The best compliment I can give this issue is that it makes me genuinely curious about what Ive missed. The reason I stepped away from this title was that, although I enjoyed the done-in-one tales, the overall story didnt quite seem to go anywhere. Now it most obviously has gone somewhere, and that somewhere is pretty interesting, so I feel an urge to go back and fill in the blanks.

The script is good, a nice beginning for a new horror series, and fans of the regular Zenescope properties will probably enjoy this as well.

Despite a rather awkward change in title (Guardians of the Globe really rolls off the tongue much better), this first issue definitely satisfied. If youre a fan of Invincible, this is definitely a comic book worth checking out.

There's just not enough time for this much introduction in a miniseries. It'd be fine in an ongoing, but seeing the finish line makes it feel like we're wasting time. Chris Giarrusso comes in at the end with another gag strip featuring the "other" Guardians of the Globe as they battle the menace of" Global Warming! It's a pun-filled page, rife with the sort of groan-inducing humor that only Giarrusso can pull off so beautifully. It's still some of my favorite stuff in this comic.

As a longtime fan of this series, I really got into this issue. I am concerned, though, that potential new fans may feel it too weighty.

What's more this is a brutal issue, one of the most violent stories we've seen in this title in some time. Daniel Leister is putting out some of his best work here, nailing the action and gore. Horror fans should really eat up stuff like this " it's got all of the tropes of a great horror movie, while blending in the drama and character development of an ongoing superhero comic in the mix. It's a good balance that makes for a good comic.

What really hurts this book is the artwork. I was actually very impressed with the first few pages, where we see a pastiche of the old 40s style (right down to yellowed pages and dotted colors). Kyle Strahm rocks this section, but as soon as we hit the contemporary sequences, the art starts to fall apart. Its really grimy, really dirty, and not in a good way. Theres a certain ugliness to the artwork that doesnt serve the characters. Pooch barely even looks like himself here (and hes a character with a pretty distinctive visual). Faces are off, scenes dont break down right its just weak. The artwork is improved by a couple of nice covers by Jenny Frison and Morning Glories artist Rodin Esquejo, who does a sort of mini cover-crossover with that title. Its a fun way to kick off the book, but the interiors dont live up.

This is a step in the right direction for this title. Lets hope it keeps going that way.

Daniel Leister is doing good work here, with a few interesting monster designs towards the end of the issue. I like seeing Samhain again, but it's a little hard to accept how quickly Cassie is ready to let him back in considering what happened the last time he was in this title. All told, though, this is a good issue, and I'm looking forward to the next installment of the story.

I liked this issue, though, and its a solid end to the story arc.

Halfway through, this is shaping up to be a great early Cassie story. Heres hoping the new beginning and the new publisher will help this book find the much bigger audience it truly deserves.

This prequel miniseries is really selling Hack/Slash. Any new readers who try this out will be drawn straight to the series when it makes its triumphant return.

With this issue, Cassie Hacks year one tale comes to a fine conclusion. Supposedly theres a special in the works for later this year before the title returns to regular monthly status in early 2011. There was never any doubt that Id be along for the ride. I just hope this miniseries helped pick up a few new readers who werent exposed to this sort of bloody good fun the first time around.

Like most stories that focus on Vlad, this one is pretty sad, while still managing to give the character (and readers) reason to hope. Thats not a bad place to be.

Rob Liefeld cut his teeth on these characters years ago, and having him back is a real coup" or it would be if his artwork had improved in the past 25 years. But even now, these pages are full of terrible anatomy, unrealistic poses, and the same two faces cut and pasted on one character after another. The book looks awful, and as much as I want to know what will happen with these characters, I'm pretty much ready to content myself with Wikipedia updates until someone else takes over the art chores.

This first issue doesn't quite have the humor that the previous series had, but it's a truly solid, exciting superhero story with fine artwork and a great hero. Welcome back to monthly comics, Herc " hope you get to stick around for a long time.

The way the character is painted here is really kind of obnoxious" not menacing, just sort of loony and playing with his fancy toys and trying to make himself seem crazier than he really is. He's Joker-lite. Granted, I haven't been kept up-to-date with the ol' Goblin family, and I have no idea who's currently wearing the costume. It's entirely possible this is consistent with his current characterization across the Marvel Universe. Still doesn't mean I like it. It's not a big problem, but it is a problem. Fortunately, the charm of Herc more than makes up for his adversary's lack thereof.

If you can read this book without wanting to grease yourself up and march around screaming "THIS! IS! BROOKLYN!" and kicking your enemies down comically long shafts, you're doing it wrong. The combination of Greg Pak, Fred Van Lente, and Hercules has been a winning one for a very long time.

Sadly, if anything turns readers off this issue, its going to be the artwork. Mike Grell would seem to be the perfect match for this title, but the pages arent at all up to his usual standard. The faces are weak, the poses are strange, and only engaging thing about this issues villain comes through some impressive color work. For a legend like Grell, you expect far more than we get in this issue. Its a shame that this issue isnt sharper, because otherwise it does precisely what you would want it to do.

The only minor issue I have here is that this isnt really a proper ending to the story, but just a lead-in to the Chaos War crossover. I was going to read that anyway its Herc-centric and penned by these two fine writers but as this was Amadeuss miniseries, Im a tad disappointed that it ends on a cliffhanger that were going to have to wait until October to resolve. That said, the fun here far outweighs that minor caveat. If you can read this and not want to read Chaos War, youre not really paying attention.

Regular artist Luca Rossi does his fine work one last time, and Tony Akins and Teddy Kristiansen both jump in for well-done tales of the House in other realms. Inaki Miranda's chapter, though, just shines. The characters are incredibly expressive and emotional, and the scenery is fantastic. Miranda is definitely a creator who should get a regular gig, and soon. I'm not happy this title is ending, but I'm glad to see Matthew Sturges bring it to an ending that feels natural, like it ended in its own time, which is a luxury far too many comics don't get. In the end, the eight volumes of this series will stand up as a worthy part of the Vertigo library.

Im really enjoying this series, in many ways even more than the parent title Irredeemable, but that one nagging question is plaguing me now.

The end of this issue is one of the better cliffhangers this title has seen, and it also brings it right into conflict with the parent title. I don't think Waid is planning a full-blown "crossover," at least not as we traditionally think of it, but it seems clear that the over-reaching story he's telling is weaving through the two comics more tightly than ever before, and that can only be a good thing for fans of them both.

The first crossover between these two titles is going well so far. Im looking forward to seeing how all the pieces come together.

Interestingly, while I think Irredeemable had a better ending, I think Incorruptible is the book Ill miss more. The Plutonians story is well and truly over, but I could easily imagine Waid or somebody else coming back and telling more stories of Max Damage. Even in this new world, theres still more story to tell. Then again, maybe leaving the reader wanting more is the way to go.

The jury is still out on Infestation 2 as a whole, but this is easily the best installment of that storyline thus far.

This one will go right up on the shelf next to the rest of Spencers work creative, thought-provoking, and unlike any other comics being published. Hes quickly becoming one of my favorites.

The concept itself is great, but Nick Spencer takes it a bit farther with interesting characters that make the story worth reading. The last-page reveal isn't exactly a shock, given the context of the story, but it works well, and it sets up some great drama and danger for the rest of the series. This is a weird little story, and it's one I'm really loving.

Very strong issue to set us up for next months #75.

This is the sort of story that very much argues for the power of creator-owned. Ottley's work is as good as always " intense and full of pretty violent action. Great stuff here.

What starts off as a typical supervillain tussle takes a truly shocking turn on the last page, again setting this book apart from those others. It also serves as a reminder of the kind of freedom you get with these creator-owned comics. If anybody tried to do something like this in the Marvel or DC Universe, it would take a year's worth of committee meetings to decide if they were going to do it, and then spawn five spin-off miniseries and a banner headline for every book that showed the aftermath of the event for the next year. With Invincible, things are nice and self-contained. This issue works out well.

This isn't the way most superhero comics are written, but this isn't most superhero comics. Very strong issue with interesting portents for the future.

On the plus side, we end things with a cliffhanger that could easily give us plenty of action next issue, although Im a tad worried that Invincible is just going to try talking his way out of this one, too.

Although Robert Kirkman stamped a bit 1st Issue in a Bold New Direction on the cover (he did something similar with issue #51, as I recall), the direction isnt quite as bold as one might think. But that doesnt mean the issue isnt strong and the story doesnt work. I hope Mark isnt sidelined for too long, but as long as he is, its nice to know weve got an interesting story to keep us company.

Peter Krause and Diego Barreto give us good art, with styles that compliment each other well and don't betray where one artist finished and the next takes over. The book is full of truly disturbing moments, powerful characters, and deep philosophical questions. This is the thinking man's superhero comic.

I'm sorry to hear that Peter Krause is leaving this series, as his involvement was one of the things that spurred me to pick it up in the first place, but I hope Diego Barreto is planning to stay on as full-time artist. The two of them complement each other well, and the book has maintained a successful, consistent feel with them trading pages. Let's hope it stays that way.

Peter Krause, apparently approaching the end of his run on this book, is going out strong, with a haunting final page that will stay with you long after you finish reading the book. This is a powerful, emotionally-wrenching comic book that delivers almost every time.

In case you couldnt tell, Im digging this book. Its another wonderfully original book from Vertigo.

Im still sorry to see this series end, but if the final issue is really indicative of how the writers felt at the end, I think its probably time to close up shop. Ill miss this book, but at least they knew when to walk away.

This issue is just fantastic. Its smart, its funny, its wonderfully illustrated. It may just be the best Jimmy Olsen story of all time.

The bit where their Triad-merge backfires and gets them jumbled up with Firestorm is clever, and it makes sense, but other than that there's not really a lot to mark them as a necessary part of the story. That lowers the rating for me. Granted, we're combining one of comics' best-known and one of its least-known properties, so it would make sense for the League to take a leadership role. Instead, though, it often seems to both the readers and, most likely, the JLA, that the 99 are just getting in the way.

I'm glad these writers will stay with the character next month, and I hope the slight change in focus will give this wonderful series the respect it deserves.

Issue one definitely felt like a prologue, maybe a bit too much, but issue two takes that starting point and kicks the story into high gear. Im looking forward to the rest of this inaugural arc.

Supplementary issues aside, this book is really giving me what I want.

While I am looking forward to seeing this book catch up to the modern day, Im also enjoying the ride. Were getting a fun, different kind of origin story with lots of excitement and great art. That more than satisfies me.

All in all, this issue and this storyline satisfied me completely, and Im pumped for what comes next.

The book feels like a horror title, but the members of the traditional League that show up here don't look out of place at all. The pages with Batman are especially good, but Superman and Wonder Woman being attacked by a swarm of teeth is a pretty awesome visual in its own right. Really great book, and I'm happily looking forward to the next.

Artistically, Aaron Lopresti does very good work here. He draws good, clean, well-told superhero stories, with some awesome beasts at the end. My only complaint, visually, is Booster's new costume. It's based on the old look, but it feels a little too busy at the top, and the lack of boots makes him look bland at the bottom. Would that it were balanced out a bit more. Still a very good title, though.

It's Robinson doing what he does best. Brett Booth, who drew last month's Starman/Congorilla one-shot, joins the title as regular penciller here. I like his Eclipso a lot, and a many of his heroes look pretty good too. There are some times, though, where some of the faces feel a little too angular, noses too narrow, and the whole thing is a tad plastic. This is most noticeable on those characters who don't wear masks, of course. Still, his storytelling skills are strong and I think he'll work on this book for a while.

Robinson has always been at his best telling long-term stories, and the end of this issue is wonderfully bittersweet, a feeling that we're seeing the end of a story that barely started. I just hope his 12-issue Shade series isn't the only new thing he has in the works, because this James Robinson is one I want to read every single month.

The issue, and the series to date, is quite enjoyable.

The action is really strong here, the stakes are high, and Aaron Lopresti's artwork is top-notch. Perhaps best of all, by the end of the issue we've really got a feel that this is a group that's come together as a cohesive team instead of just characters brought together by convenience or mutual danger. That's really important here. It makes the stakes higher, and it gives me greater hope that once Brightest Day is over, DC may just find a way to keep this group together permanently.

Strong issue, Im still not buying that the Beetle is dead, but the story is turning out great.

Bennett shows off some impressive comedic chops here, using a few sight gags and static panels to nail some of the jokes Winick has set up. This issue really feels like a wonderful blend of the 80s-era JLI and the modern superhero style. In other words, it's really damn good.

It doesnt really hurt my enjoyment of this issue, though. This was a really good chapter, and Im looking forward to the grand finale.

This book soared on every level. Great characters, real heart, fine action, and just a bit of the humor that these characters are so perfect for. So Im gonna say this simply, DC give us the new Justice League International series soon, and if you can, keep Winick and Lopresti on-board. Theyve earned the book, and theyve earned our respect.

Marc Guggenheim has whipped up an impressive slate of dangers for our heroes to face, and with one exception, I like where they're going. (I'll never understand people who complain when the slightest bad thing happens to a character " how do you demonstrate a hero without having him overcome adversity? It's only when they act out of character that there's a problem.) I also like bringing in other DCU heroes to the fold. While I don't know that Blue Devil would necessarily be a good fit for the team, he fits well into the larger scope of "Supertown." The new Scott Kolins is really strong too. He's got a style that comes in somewhere between old-school superheroes and high fantasy. The latter would seem like an odd fit, but it's not. It works.

This issue works well as a tribute to the history of these characters. Hopefully, its a good new beginning for the title as well.

Jack Herbert does most of the artwork here, although Alex Ross does contribute a bit to the interior pages (as well as the cover, of course). Both artists, fortunately, do a fine job of using Kirby's designs in a more modern context, creating some nice looking artwork to help the story along just a hair. This zero issue has real potential, which is pretty much all you can expect for a buck. I'll give the series a try.

The idea here is sound, and the setup isn't bad, but I think we needed more character stuff to make this book really sing. It helps that you've got Pete Woods and Brad Anderson on the book, though " a very solid art team that does nice work on some unique characters that don't look like anybody else in the superhero genre. The end of this issue is a real shocker, and even though its a whole new world, I really hope things aren't quite as bleak as they'd seem. It would be too quick to shake the team up that much. Still, I'm looking forward to seeing where this goes.

Between this book and the tales of the classic Legion over in Adventure Comics, one can only assume that Levitz is having as much fun writing these stories as fans of the Legion are having reading them.

The Legion is one of my favorite properties in comics. Im really glad that, with this title, its on its way to becoming one of DCs best books again.

Its been a really strong story, though, and Im anxious to see where it goes next.

This isnt a terrible issue, but its not a great one either. I would have hoped for better for the new Legions first annual.

Fans of the Legion as it existed last month, fear not. Youve got just what you want. If you werent reading Legion of Super-Heroes in August well, I hope you can find something to enjoy as well.

Cinar and Faucher once again give us strong artwork, particularly their Brainiac 5, with a great reveal later in the issue. If Levitz pulls back just a tad on the number of plotlines he has ongoing at once, this book will be a lot better.

This book hasnt let me down yet, and I really dont think it will.

This really is the most interesting comic book Archie has ever published. I dont say that as a criticism of any of the comics of the past, but instead, as a celebration of their willingness to do something new.

And I didnt even mention the subplots with Chuck and Dilton. The fact that Kupperberg has so much going on all at once is shocking in and of itself. The fact that its not hard to distinguish whats happened in one world or the other from month to month is impressive as well.

I never would have thought I would enjoy this series as much as I have, and Im really glad that Kupperberg and Breyfogle are continuing to knock it out of the park.

In addition to the two Archie stories, this issue also begins the new Jinx feature. The former Lil Jinx character that ran in the pages of Archies various titles for many years has been retooled into a teenager, and here we see the first glimpse of the older version of Jinx and her friends. This isnt bad, but it isnt phenomenal either. The stories work fine as one-off gags, but most of them dont feel any different than the one-off gags that we got when she was a younger character. Yes, the artwork is more sophisticated and the technology references are more up-to-date, but the jokes are pretty much the same. On the other hand, this is listed as a sneak preview, so once the full feature debuts next issue, hopefully well see a bit more development from Jinx and her friends.

One last word about the extra features this issue while most of the time I ignore the extras, as theyre usually focused on teen stars and starlets I dont have any particular interest in, this month it just got to me. Giving up so much of the issue to talk about the coolest president started to grate on me after a while. Personal politics aside, I feel like theres something disrespectful about discussing the President of the United States in the same sort of fawning blurbs and factoids as you do Justin Bieber and the cast of Glee. It oversimplifies a person and a topic that are far too important to treat in such a cavalier manner. This really did feel like too much. If I didnt love the stories in this magazine so much, that would have been enough to make me pass on buying it altogether. As it is, try to ignore the features and just read the stories that you paid your admission for.

Another great issue of this magazine, and this month you get even more for your money.

I love the comics in this magazine. Its the rest of it thats kind of letting me down.

This issue really begins the next stage of Mark and Abby's life, and as such, it's the perfect jumping-on point for those of you who haven't read it before. Check it out and you'll be dialing up the first two trade paperbacks before you hit the last page.

As always, this book brings it, entertains, and makes me very happy that I discovered this fantastic series.

We don't miss our on our main couple altogether, though"the moving day and reunion scenes that bookend the issue are really cute, funny little moments" although I don't know if either of them could have held down an entire issue on their own. Zahler utilizes them both perfectly here, giving them exactly as much time as needed and then stepping aside to tell a larger story that develops the universe as a whole. I could almost see this issue serving as a try-out of sorts for other spin-offs, expanding the universe while keeping the focus of the main title on our core characters. If Zahler ever decided to try something like that, I'd be right there waiting to read it.

It's only a matter of time before somebody at one of the big two sees he's got the chops to be writing the iconic superheroes on top of his own. I just hope once that happens, he doesn't leave this book behind.

Ive made no secret of my unabashed love for this book since its inception, and even though this is the final issue of this miniseries, its very much a standalone story that anybody could read and get something out of. If you like superheroes and all the wonderful, goofy trappings that make them fun, even if youve never read this title, pick this issue up. You will not be disappointed.

This was a good issue, and its definitely worth reading for a longtime fan of the character. I just hope that, as the series moves forward, Shooter takes a few more chances with Magnus again.

In the sixteen issues of these two adaptations, Shanower and Young have stepped up and become one of the finest creative teams ever to carry on Baums legacy. I couldnt be happier that the last page promises the adaptation of the third Oz book (and my personal favorite of the series) Ozma of Oz, beginning this fall. Theres plenty of magic to be had there.

Ian Flynn does redeem himself by throwing Mega Man's evil twin into the mix and compounding the action, but even then, there's a bit of a shortcut to get us to the final fight. It's a pretty good conclusion to the opening story arc, but it had the potential to be better. Still, I'm looking forward to seeing what comes up next.

Its a shame this book came out so close to the end of the year, because I could easily see it worthy of being on many best of 2011 lists if wed had a few more issues to sink our teeth into. But hey, theres always next year.

Its not a bad first issue, but the second issue will be crucial for me to determine if I want to stick with it.

The book looks good, with wonderful action scenes showing Michael using his T-spheres and other scientific doodads in ways that we haven't seen from him in the past. Not only is this Mr. Terrific the third-smartest man in the world, but he seems to be a tad more imaginative than he used to be as well. Good start for a character that is long overdue at getting his shot at a solo series.

After a rough first story arc, this book seems to be getting stronger. Thats definitely a relief, because I love the character and I want to see him as one of the stars of the DC Universe, where he belongs.

Havent tried this book yet? Issue one just hit a fourth printing, and that alone should tell you its winning a following. Hunt down the first three issues and discover what the rest of us know Morning Glories has already claimed a spot among Images best titles.

Truly, friends, Morning Glories is the best new title of 2010. Im calling it now, the rest of you can just have a seat. Theres been nothing that launched this year thats half as awesome as this series.

This is a fantastic comic. Theyre rushing out the paperback of the first story arc, so if you havent gotten into it already, now is the time.

Great issue of a fantastic title.

Another strong issue, but we need to get more. And soon.

Another very, very strong issue, and the sort of thing thats going to have the fans of this book really chatting and throwing out ideas, at least until the next issue.

The last six issues have had real merit, but despite that, I find myself anxiously awaiting issue twelve, hoping that the story starts to pick up speed.

This series keeps going to strange places, and Im excited to see where Spencer is planning to go next.

Its interesting that, rather than starting a longer storyline, this issue adapts a single Holmes short story. Im assuming that the other three will do that as well. It will help set this series apart from the rest of the Muppet comics that weve been treated to from Boom! Youve got to admire them for constantly trying new and different things with these comics.

Amanda Conner does her usual gorgeous cover. David Lopez's interiors aren't exactly the same, but his facial features and acting are evocative enough of Conner's style that it doesn't feel like the cover and interiors are worlds apart. All in all, I really liked this book. I hope it finds its hands into the sort of readers that would probably like it the most.

Im really enjoying this title a lot. While I think all of the CrossGen titles have long-term potential, if I had to pick just one to see move on from its initial miniseries, this is the one Id go with.

To be honest, Im enjoying this book much more than I expected to. As a sort of side-team, as an Avengers spinoff, this rather eclectic mix of character works quite well, and I can see reading them on a regular basis.

Daniel Acuna is one of those creators that's really hit or miss for me, but his work on this issue is okay. The date scene looks nice, warm, and welcoming, the action I full of energy. His Thing doesn't look great, it trends a bit too much towards the old "lumpy oatmeal" took for my taste, but other than that, it's a good issue all-around.

At any rate, its a good comic. Dick Grayson fans have nothing to worry about.

The Doomsday plot is pretty much a retread of the Steel issue, except without the character insight and depth. Only Philip Tan and Pete Pantazis' very strong artwork prevents this from completely falling apart, and adds a point to the issue's overall score. I'm not terribly surprised that this title is getting its plug pulled in a few issues, but considering how great it was at one point, I am rather saddened to see the cancellation so completely justified.

Casey Heying's artwork is pretty good, but I'm not sure how well-suited it is to sequential storytelling. He's got good designs and nice imagery for the characters, but everything looks somewhat like a still photograph rather than a lively, energetic adventure story. Then again, I don't know if that's so much Heying's fault as it is the color team. I'm gonna have to go try to dig up the first four issues (counting #0) of this series to try to give it a re-read. Until then, I'm not sure how I feel about it.

They said the third time is the charm, but in this case, its really the third charm in a row. Shanower and Young have done a magnificent job from the beginning of bringing Baums creation to the comic book page, and the first issue of this new series is another masterpiece in the making.

Ahem. Anyway, this book is just delightful. Whimsical, silly, and full of excitement. Shanower and Young are the Oz-team supreme. Long may they reign.

This wasn't just a good comic book, it was a joy to read from beginning to end. This creative team is going to return in September for what I've always thought was one of Baum's weakest books, Dorothy and the Wizard in Oz. This is the creative team that can actually make me excited for that " if anyone can turn that into a real, exciting adventure, it's Shanower and Young.

If you're a Peanuts fan, if you're thinking of reading this comic either by yourself or with your kids, grab this zero issue. It'll help you make up your mind, if nothing else, and I think you'll be pleasantly surprised.

This book is way better than I would have expected it to be. Its funny, its cute, and its just morbid enough to be entertaining. Even if youre not into the game, this is a book that will give you a good chuckle.

Im going to give Winick a story arc to decide if I want to stay on this book, but one issue in has me on the fence. It all depends on how the last-page revelation plays out.

It will be some time before such a determination can be made, but if the book continues in the direction Winick and Basri have been taking it straight up well look back on issue 21 as the moment this title grew the metaphorical beard.

This issue will dig right into the classic debate of who's the real man and who's the disguise, Clark Kent or Superman, and applying that same question to Power Girl is a new, but very legitimate, direction in which to steer the character. Sami Basri has done a fabulous Power Girl for many issues now, and this issue proves that Superman is no problem either. He's strong, he's bold, and he even has a picture-perfect spit curl. Plus" dinosaurs. How can you fail to have fun with that kind of chemistry?

Sami Basri has given us another book of clean, energetic artwork, including dinosaurs with machine gun hands and one dressed as a lumberjack, which together give you just about anything you could want in a dinosaur. The only black mark to this issue is a rather stilted opening page. Winick tries to give us a recap in a funny way, but even given the conceit that Superman and Power Girl are having trouble hearing one another, the dialogue is just way too stilted and clunky to really work for the characters. One bad page versus 19 great ones, though? That's a pretty good ratio.

The action scenes are nicely done, and he's good at getting the emotion in the character's faces. It's a good issue, though. Out of all the books that aren't coming back after the relaunch in September, I think this is the one I'm going to miss the most.

This was a good issue and a great series. Im definitely going to miss picking up Power Girl when the New 52 hit my pull folder next month.

This is one of the best and most underrated comics out there.

Rachel Rising #1 comes across as a well-drawn, but otherwise very standard horror comic. Having read Moore's work for over a decade, I have every confidence that once we get to know Rachel and the other characters, he'll build a universe that's rich, engaging, and original. I just wish we'd gotten more of a sense of that right out of the gate.

Good issue. Im really glad that Tim Drake continues to be one of the most compelling characters in Gotham City.

The ending of the story is even a little ambiguous, ending the series with a question mark. It just doesn't feel like Tim. Even after his father's death, Tim has always been the most hopeful of Bruce Wayne's sons, Bringing his solo adventures to an end on a point of cynicism just feels wrong. It's a shame to see Marcus To leave the book as well " he's a great artist with a very effective, classic style, and he's made Tim his own. So we'll say farewell to Tim, but at least we'll get to see him in the pages of Teen Titans.

I really enjoyed the return of Resurrection Man. DnA have plenty of room to play with the character and allow him to grow, and in the environment of the New 52, I think he may just have a chance this time.

There's just enough of a supernatural bent to the book to recommend it to fans of that genre, while it has enough of the conspiracy thriller to make it entertaining for those fans as well. This is the sort of title that really has very wide cross-genre appeal, and I hope that it finds the fans it deserves as part of the huge push for the New 52.

This is a good book, but it feels like its just barely being held back and prevented from becoming a great one. Theres room to grow her, and the story is growing in the right direction. If Dagnino can change it up a little, it could push this book into the realm of being a must-read.

I feel good about the end of this issue, like were definitely pointed towards the endgame and the conclusion of the series. But overall, that makes this middle section feel sort of superfluous, like were circling until the finale begins.

Image Comicss 20 anniversary is coming with a lot of gifts there have been over a half-dozen new titles launched so far this year (more if you count miniseries), and many of them have been really entertaining comics that immediately demand a spot in my reading rotation. This is another fine addition to that roster.

The other complaint about the issue, honestly, is a standard one for books of this type the price. I know the economic realities of the comic book industry today, but $3.95 is too much to expect kids to pay. Id hate to think this book will only find its way into the hands of collectors indulging in nostalgia, because it deserves better. Hopefully, somehow, it will find a way.

The book also gives us two pin-ups, a creepy entry from Mike Mignola and a sexy cheesecake shot from Jim Silke, one of the best to work in the style since Stevens himself. The Rocketeer is too great a character to be left sitting on the shelf any longe. Im very happy that IDW has dusted him off and is doing him proud.

Why is this only a four-issue miniseries, IDW? I could read this comic forever.

We also get a couple of nice pin-ups here: Stephanie Buscema and Joe Chiodo, with covers by Alex Ross and the late Dave Stevens himself. All together its another great package, and again one questions why this is just a miniseries and not an ongoing.

I did so love this miniseries, and I do so want to see it become an ongoing, but its a good thing this was the last issue instead of the first.

There were, however, some interesting twists and revelations, some of which would never have been possible in the series' original off-Earth setting, so it's nice to see that Mark Waid is making use of Marvel's decision to bring the CrossGen titles back down to Earth. Mirco Pierfederici has a different style than original series artist Butch Guice (who gives us the cover), something a bit more like a painting. It works, it tells the story, but it does give the story a different feel. Of course, that may well have been the intention. It was a good book, though, and I really hope Marvel brings it back again.

Its a strong first issue that has me curious to see where the title will go next.

The book feels like its on something of a slow burn right now, which is to be expected. Were only on issue two, so theres nothing wrong with being handed more and more questions without having been given any real answers yet. Hopefully, though, this wont be a book that makes us wait too long to figure out whats going on, or at the very least, will give us a feel of progress being made. For a title like this one, if the reader doesnt feel forward motion, its the kiss of death.

I do so love Science Dog I even love the little pawprint in the middle of his logo. This is a character I wish we saw more often.

In addition to those two stories, told in full color, there are also several black and white pages of short comic strips, a credits page that looks like it spilled over from a Mad marginal, and two game pages one spot the differences page and one where youve got to locate the two identical covers in a crowded comic book shop. Its rare for any publisher to offer an artist such free reign to do whatever they want in the pages of a comic book, but even rarer for the creator to do such a diverse array of things in the pages of a single comic book. Aragons is one of those guys who knows his strengths and plays to them flawlessly. If youre a fan of his work in any of those many, many places hes done it before, youll love this comic book.

There's very little here for fans of the characters to hang their hopes on, and although DC keeps saying there are plans in the works for the family, it's time se saw some real evidence of that. This issue isn't enough. Cliff Richards' art is okay " his Blaze is very good, and the fight scenes work well. But this issue remains rather lacking.

Leonard Kirk has some assists from Patrick Oliffe, and both men are well versed at crafting stirring comics about young superheroines. (Granted, Sam isn't technically a superhero, but this book shares more than enough with that genre for the great superhero artists to do good work here.) I like the book and the character. I just hope that Mike Carey kicks things up a notch in the second half of the miniseries, because he's certainly capable of doing so.

The zero issue is just a buck, and its more than enough to convince me that this is going to be a book worth watching. If you loved Langridges other work or if youre just looking for a smart, funny, literary comic book that parents and children can enjoy together, this title is a must read. Get this zero issue, taste what Langridge is cooking up, and youll be lining up for more.