The new Valiant Universe hasnt taken a false step yet, and I think this is my favorite issue theyve produced so far.

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.

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.

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.

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.

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.

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.

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.

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

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

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

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

In just two issues (three if you count this weeks Harbinger #1), the new Valiant Entertainment has proven itself to old-school fans and new readers alike. This, friends, is how you bring back classic characters great stories and art, stories that are both fresh and familiar at the same time At the risk of giving in to hyperbole, it really is the summer of Valiant.

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.

Its a good issue and a fine end to Gishlers run.

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

The story is still moving somewhat slowly, but thats okay. The journey in this case is more than worth the trip.

Its a good first issue, but it doesnt really feel new. Hopefully that wont put off too many people.

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

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.

And one last comment this, kiddies, is why its important to know proper grammar and punctuation. If you dont, youll never understand the clever apostrophe placement in the title of this book. Its not a mistake, gang.

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

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.

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.

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.

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.

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.

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

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

This character is simply too good to be placed on the shelf. Now that DC has given us a really great Ray, a character that not only meets the cries for diversity among many readers but does it in a way thats wonderfully entertaining and engaging, we need to see more of him. Ive got no idea what the sales on this book are, but even if they dont justify an ongoing, this is a character who needs to find a home in a team book before hes forgotten, because hes just too good to become obscure again.

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.

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.

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

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.

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.

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.

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

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.

The kaboom! imprint has been on the move lately, securing comic book rights to Peanuts and Garfield and scoring a hit with Adventure Time, but it would be criminal to ignore this title, the best of the lot, and one that I truly believe will stand the test of time.

Good issue, great art.

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

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.

This issue ends with the sort of cliffhanger that has people salivating for the next issue. Snyder and Rudy have truly made Swamp Thing one of the gems of the New 52.

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

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.

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.

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.

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.

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

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

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.

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

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.

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.

Despite that, Im enjoying this book much more than I thought I would. Currently, its the top comic in the X-Men corner of the Marvel Universe.

As always, a great issue.

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.

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.

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.

If youre a fan of the novel wondering if the comic is worth reading, Im saying yet. If youve never read the novel but you want to see vampires made scary again, draining the romantic notions that have become so painfully prevalent in the last 20 years or so, this book is the cure youre been searching for. And if you like your horror with just a dash of scientific reality here Im thinking of fans of Images Witch Doctor, this is the book for you, too.

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.

Fans of the old versions of Ray either of them may be a little disappointed to find that theres not much of a trace of them here. The name is the same, the powers are similar, but not exact. Other than that, its a ground-up relaunch. And it further confirms a feeling Ive had about the New 52 universe for some time now. This is really a new version of what happened in the Silver Age, when DC brought back superheroes in a big way. Some of them changed just a little, some of them changed a lot, some of them were brand-new characters. Lucien is to Ray Terrill what Hal Jordan was to Alan Scott. Whether he has Hals longevity, of course, remains to be seen, but hes a fun character that doesnt feel like anybody else in the DC Universe. And that, friends, is a very good thing.

A huge part of that has to go to Scott Snyder, who has made me interested in the bizarre world of the Green and how it relates to the Red and the Rot. A lot of it has to go to DC, who has admittedly jumpstarted my interest by making Swamp Thing a part of the DC Universe again, which automatically gives the events of this book grander consequences than before. And a little even has to go to Jeff Lemire and Animal Man, because readers of the two books know that we're seeing different perspectives on a single tale. Either book could be read independently of the other, but reading them both is helping me feel like I'm looking at a larger tapestry. It's entertaining, engaging, scary, and a hell of a lot of fun. So thanks, everyone, for finally making me a Swamp Thing fan.

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.

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.

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

This book is always a great all-ages read " lots of fun for the kids with sharp enough humor to keep the adults entertained as well. But this issue takes it a step further, with a few jokes that are clearly just for the parents, making it all the better.

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

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.

Langridge and colorist Rachelle Rosenberg have, together, made one of the loveliest fairy tale villages I've yet seen. The town feels quaint and inviting, and its population of human and animal characters coexisting feels very normal, very natural for this world. Lots of people have tried to do their interpretation of the works of Lewis Carroll. Langridge is doing it better than anybody.

Carlos Pacheco and Cam Smith do perfectly good artwork " Pacheco is an artist I'm pretty much always anxious to see at work. Their depiction of the Dreaming Celestial and the clever metamorphosis his head undergoes looks nice, and the book feels more like a part of the Marvel Universe than a lot of X-Men comics have in the past. But at this point, if I'm going to keep one X-Men book on my pull list, it's not going to be this one.

Ketner's artwork brings a necessary degree of realism t the monsters that Morrow faces, which really helps this title stand out against other horror comics. This is the first non-Robert Kirkman effort from his Skybound imprint, and he couldn't have chosen a better one.

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.

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.

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.

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.

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.

I'll just admit it. There's some cheesecake in this book, but it isn't all cheesecake, and considering the outcry we've seen over Starfire and Catwoman, this book is turning out to look pretty tame on that respect. Maybe that, plus the very solid story Marz is giving us, will help it find an audience in the New 52.

Im not nearly hyperbolic enough to call this the best Superman run in years, not after only two issues, but those two issues have presented to us a very solid foundation that makes me believe that Superman, in the world of the New 52, is in very good hands.

I'm a fan of Yildiray Cinar in general, but there's something a little off about these pages. Actually, I think the problem may be in the coloring. Several of the pages look too light, like the blacks are washed out. I noticed it in the first issue as well, but I thought it was a printing error. Now I'm wondering if Steve Buccellato is experimenting with the colors. It's a valid idea, but I don't think it's quite working. But just about everything else, fortunately, is.

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.

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.

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.

Solid issue, and I like the direction this book is taking.

I dearly loved this book, and I hope that Robinson is allowed to continue playing with this character after these 12 issues reach their conclusion.

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.

The artwork has a lovely animated quality to it " although I hate to use the comparison, these pages would be perfect translated to a cartoon. In this book, Langridge draws on the entire toolbox " great art, great characters, a wonderfully layered story, and even his skills as a poet. Snarked! has all the makings of a fantasy epic. It could be the next Bone if it finds its audience. The next great family comic book has finally arrived.

Viril's sister has a clone and " WHAT? The writers drop this in pretty much out of nowhere, as if it's just a normal part of the family's status quo. Admittedly, I didn't read every issue of the character's old series, so I'm assuming this isn't something brand new, but if you're new to the character this is one major curve ball to throw at the readers, something that absolutely has to be dealt with in some fashion. Beyond that, the rest of the book isn't bad " Virgil comes across as a pretty typical teen, except for the superpowers and highly developed sense of civic responsibility, and I like the way McDaniel draws the character. Hopefully that speed bump will be taken care of before the book goes too much farther.

On books like Captain Britain and MI 13, he's made a strong case for doing weird better than anyone. But this book is straying a little too weird, and the next issue needs to snap things back into focus.

The book looks fantastic. After issue one, I was still on the fence about this book, but issue two is doing its job. I'm definitely in for the rest of this story arc, and if it satisfies me as much as this issue does, I'll keep reading beyond.

This issue is set-up, and that's okay. But if the book goes longer than six issues without forward momentum, there's a risk of losing readers. Fortunately, this opening issue is strong enough for me to follow the next few issues and see where it goes.

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

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.

Overall, I wasnt terribly impressed with Schism, but despite that, Im left wanting to see what happens next for these characters. So on that level, at least, the miniseries did its job.

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

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.

Good issue, but the artwork hurts it.

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.

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?

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.

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.

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.

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.

My one real complaint is Clark's "article," which runs through the issue as a commentary on Superman's activity. It's" it's just terribly written. It's "failing journalism 101" writing. No award-winning journalist could " or should " get away with a front-page article so rife with speculation and obvious bias. Yes, I know they do, all the damn time, but that doesn't make it right. Anyway, Jesus Merino has run with Superman before, but this time he's running finishes over George Perez layouts, and that's a formula for awesome. This title hasn't looked anywhere near this good in a very long time. It's a real shame that we already know Perez is going to leave after six issues, but I'm going to enjoy the hell out of this team as long as they're here.

Still, for all the good, there's something missing here. There's a spark, a fire that you need to feel the Teen Titans as a team that we don't have yet. The previous incarnation came in with that spark, having previously been teamed up in Young Justice, but with this back-to-basics approach, I can forgive a lack of camaraderie in this first issue. Still, it'll be incumbent upon Lobdell to establish that fairly quickly or the fans may start to drift.

Sami Basri, coming right off a wonderful run on Power Girl, steps up and does a very good job on this issue. It doesn't hurt that he's already proven he can draw beautiful women, but he's also good with scenery, with telling a story through the looks on a character's face, and with crafting clever monsters. I don't know if I'll stay with this book for the long haul, but I liked this first issue enough to come back for issue two.

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.

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.

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.

The premise here is really very clever, and something that's totally unique to this particular incarnation of this particular property. The trick will be to find ways to tweak the classic stories and not just re-tell them. The subtle changes in the characters made this first issue work, and work well, and I'm hoping it keeps up. Stephen Molnar succeeds on the art side of things as well, creating characters that look like the actors but still work as comic book figures. It's a unique way to kick off the series.

The fact that I can't wrap my brain around it is making it more difficult to enjoy the book. Maybe it's just me, maybe everybody else is having no trouble playing along here, but I'm just not getting it. Nick Pitarra and Rachelle Rosenberg are having more success with this book " it's very good visually and looks unlike any other science fiction property I've ever encountered. Hopefully, the finale of this miniseries will help bring things into focus, because issue three just lost me.

People who haven't tried this book yet, this could almost serve as a first issue, establishing the universe very firmly and telling a fine story in the process. Ketner's artwork continues to walk that line between fanciful, horrific, and biologically sound. This is an excellent book, and I'm just sitting around waiting for the announcement of volume two.

Putting Alan Davis on this issue makes me really wish he'd drawn the entire miniseries. Having a different artist on each book has resulted in tremendously uneven artwork, which I imagine will be even more jarring when someone reads the collected edition. This issue, though, looks great. Davis is an old master of the comic book form, and the confrontation between Cyclops and Wolverine really proves he deserves the title. Best issue to date, and I'm actually looking forward to the finale now.

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?

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

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.

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.

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.

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

This first issue is okay, but its definitely got the potential to elevate as the opening story arc continues.

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

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.

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.

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.

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.

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.

I'm definitely happy to see the Wildstorm threads have been woven throughout the DCU and not just contained to those three titles that were originally a part of that line. R.B. Silva's work is good here, even if the newly-birthed hairless Superboy looks a bit unnatural. That's not unexpected or out of the ordinary for the character at this point, though. I'm definitely willing to see where this goes.

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.

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.

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.

This is some of Scott McDaniel's best work. He doesn't usually impress me when he takes on a high-powered character, but his street-level style works on Static somehow. Perhaps it's his down-to Earth attitude, perhaps it's just the wonderful color work of Guy Major, but the book looks good. This book is such fun, I can't help but smile just because it's back.

The threat introduced here is easily big enough to anchor a crossover event (which I don't think will be the case, as DC reportedly is eschewing those for at least the next few years), and the hints about Cornell's own Demon Knights titles and the Martian Manhunter's history with the Justice League are both intriguing. Miguel Sepulveda's artwork is really nice too " I love his monsters, and the fight at the end is very well done. This title will at least get a story arc from me before I decide if I'm staying with it.

I feel like a new reader would feel very left out, though, with oblique references to previous runs on the title and to last year's Brightest Day storyline abounding. Even I'm a little lost, and I read all of Brightest Day. But there's definitely potential here, especially as this book seems to be a brother title to Jeff Lemire's sublime Animal Man. Yanick Paquette is doing some very nice work here. This is a different look for Superman (and Batman and Aquaman in their cameos), but the big, bold look works for them. His depiction of Swamp Thing himself is just fantastic. I liked this book, but I'm not in love with it. I'll need an arc to make up my mind.

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.

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.

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.

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.

Hopefully the conclusion of this miniseries, and Wagners tenure with Zorro, will pick up a bit.

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.

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.

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.

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.

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.

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.

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.

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.

It's so hard not to compare this book to Spider-Girl" the same creative team, the hero-of-the-future motif" even Armorgeddon feels like a villain Tom DeFalco and Ron Frenz may have put on the shelf after that series ended and dusted off for this one. In fact, it feels like a Spider-Girl story in many ways, most of them good. Fortunately, it also feels like a Superman story. The character here comes across as a man struggling to prove his continued relevance, even to himself, which makes a good angle to take with Superman in the world of Batman Beyond.

It doesn't feel like a "final" issue the way some of the other books this month have " in fact, I would imagine this isn't that different than the issue 100 we would have had without a relaunch. But as a finale for this incarnation of the team, it's a fine way to go out. We also get a nice gallery of pin-ups by assorted artists showcasing various incarnations of the team, some of them poster-worthy. I'm glad DC let this book go to 100 issues " it's a good way to go out.

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.

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.

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.

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.

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.

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.

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.

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.

Adlard and Rathburn are still effective artists, making the book sharp and fun to read, although sometimes I do find the bearded characters tend to look alike. It makes it a little difficult to keep track of who's who and what relationships everyone is in. But the book is as solid as ever, and still one of the best buys every month.

This book is always silly, but this issue goes a little further into the sort of absurdist humor that makes the title so much fun. At the same time, they work in small in-jokes and gags that will probably play more to the parents than the kids, which makes it the sort of book they can all read together. The artwork is as funny and expressive as ever, and something about the joy and simplicity of the cover is even better than usual. I love this book, and it makes me deliriously happy that it won't be impacted by the relaunch. If it ain't broke, don't fix it.

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.

And another farewell to another strong book that could have lasted longer.

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.

The book has good ideas, but the way were getting there still feels forced to me.

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.

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.

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.

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.

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.

Taking something so high octane and making it so personal is truly one of the hallmarks of everything that makes the Titans great, going back to the days of Wolfman and Perez. And while we're at it, let's hear it for the guest art team " Jose Luis, Greg Adams, J.P. Mayer and Jason Wright deliver a book that's as great to look at as when regular artist Nicola Scott is in the room. I'm all a-tingle, waiting for the finale in issue 100.

I'm noticing an awful lot of white space in this book " from the covers to the title page to many, many of the actual story pages, there's way more empty white than I'm used to seeing in a comic book. Looking back, it seems that issue one was that way as well, and I find myself wondering just what that's all about. Is it simply a design choice, or is it something that has story resonance? I'm curious, I'm engaged, and I'm looking forward to issue three.

Will Conrad's artwork is nice and effective, but the cover is just awful. Colossus (who doesn't even appear in this issue) looks like a lumpy potato, and I didn't even realize that the flaming skull was supposed to be Ghost Rider until I opened the book and saw her there. I don't know what happened here, but this is one time the interior artwork far outstrips the cover.

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.

If you look at the beginning of the book to the end, though, you definitely see a shift. I'm not really sure what that means, except that the editor assigned their pages in the proper order. It's a nice little plateau to leave the Green Lantern titles on before everything starts over in a couple of weeks.

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.

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.

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.

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.

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.

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.

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.

The book also utilizes the multiple artists well, using each for a different time period (which is the best way to do it to begin with), but also using artists whose styles complement each other rather than clash. There's still one issue left, which I'm looking forward to. I just wish Lemire had been given more time to play with this character and really make his mark.

This is a charged, energetic look at a classic character, and I'm very happy that Wagner will be allowed to complete his epic.

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.

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.

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.

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.

Even after ten issues of wandering, the sudden crash Superman experienced last month felt like it had inadequate buildup, and the same goes for the heights he achieves here. Had the second half of this issue been applied to a better story, it could have been a suitable farewell to this Superman the way Alan Moore's "Whatever Happened to the Man of Tomorrow?" was the perfect way to say goodbye to the pre-Crisis version. As it is, this is really little more than a footnote that, by the last Wednesday of this month, will likely be forgotten.

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.

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.

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.

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.

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

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.

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.

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.

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

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.

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.

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.

It feels like J.T. Krul has years worth of material here, with the Titans behaving like real teenagers and acting in a way more sincere than we've seen in this book in years. Heck, Solstice is a brand new character " one with true potential, and as far as I can tell, she's not turning up in the new DCU at all. Even Prime, who has become kind of a one-note character, has a different and more interesting plan this time around. Nicola Scott steps back this month (probably to prepare the two issues coming out in August so this title can hit #100 before it fades away), but Eduardo Panisca is a fine substitute. His style is very energetic and expressive, and Jason Wright's colors help to give the book the refined feel that Scott does at her own best. I'll really miss this creative team come September.

It's a good issue on its own. When used this way, to demonstrate the differences between one world and another, it becomes even better. Christopher Jones delivers on the artwork, giving us a good, clean line, telling the story well, and pulling off strong visuals for characters and landscapes we haven't seen much " or even at all " on the TV show. I'm eagerly awaiting the return of this series to Cartoon Network, it's been wonderful, but in the meantime having this comic is a good taste of what's to come.

And I'm particularly happy that Frank Cho, who does the art this issue, tackles the big art problem I had before. In issue one, "Slim" Summers was as bulky and blocky as any barrel-chested superhero. Cho actually draws him as a slim man, someone who's skinny but still muscular, living up to a nickname that far too many artists seem to forget. The biggest problem with this issue (and the miniseries as a whole so far) is that the main villain is still rather unimpressive. Kilgore, the newest member of the Hellfire Club, is another stereotypical member of the "Evil Children" club, without either anything to distinguish him or anything to make us take him seriously as a threat the way we do the great X-Men villains. That needs to be addressed in the next three issues for this to really work.

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

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.

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.

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

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

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

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.

Fans of horror comics or even fans of intelligent, clever fantasy should be picking this book up. Its a medical drama mixed with the X-Files with a dash of Sherlock Holmes and a healthy dose of H.R. Geiger. If that doesnt appeal to you well youre clearly looking at the wrong review.

From a story standpoint, fortunately, its much better. This is a really strong follow-up to an excellent storyline.

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.

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.

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.

It's clear that someone " either Straczynski or, more likely, Chris Roberson " really does understand the character of Superman, and what he means, and what he should mean. But it doesn't feel like the story that's brought us to this point justifies the decision that we know will be temporary anyway. There are three different art teams employed to finish this issue, and to their credit, they're all pretty good. Their styles are similar enough that you don't feel a jarring difference as you go fromm one to the other, and the book has a uniform look. But while much of the issue rings true, the things surrounding it just don't. I'm really hoping that when George Perez takes over this title in September, we feel a writer who knows what Superman means and understands how to tell his stories.

This is hard sci-fi for the fan of such things. Hickman is doing something as different from other time travel stories as it is from his more mainstream work, and the conclusion is something I cant wait to read more of.

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.

Its not a bad beginning to this storyline. Knowing what we do about the direction, it feels like a decent launch. It will need to grow quickly, though.

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.

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 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.

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.

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.

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.

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.

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.

This is a real, true all-ages comic something that a parent (most likely a father, lets be honest) can read and give to his kid to enjoy together. And thats what all-ages should be.

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

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.

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

Im going to recommend the hell out of this book, partly because its so good, and partly because I selfishly want to see more miniseries starring Victor Morrow and his associates after this first one is over. Its totally unique and a great read.

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.

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.

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.

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.

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

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.

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

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.

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.

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.

I did like the interaction with Starman " he and Supergirl play off each other well, but that was over way too quickly. And I always like to see Chriscross's artwork. But in the end, this story just fell flat.

The Blue Beetle scenes may be best stuff in the book, though, as he finds himself arguing with his own backpack over the precise location of the lemons they need, all of which leads to one of the funniest jokes in the book at the end. The book also gives us an activity page, one of the many little tidbits that makes this truly the best comic you could be getting for your own tiny titan. It's just pure fun.

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.

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

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

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.

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

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

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.

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.

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.

Having Bernard Chang on the art helps quite a bit " he does a fine job with all of our young heroes " but it's not enough to make this book any more than average. It's really a shame to see a story that started to well fall down on the last lap.

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.

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.

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.

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

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.

As a lighthearted story for kids to read, it works all right. As a successful parody of a popular franchise, it leaves something to be desired.

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

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

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

The book wraps up with some pin-up pages (including a fantastic Icon page by Jamal Igle any room for him to draw a new Icon series in the DC revamp, guys?) and text pieces by Milestone co-founders Michael Davis and Derek T. Dingle, suitably bringing all of the Milestone founders together one last time. McDuffie was an amazing writer who truly wasnt appreciated for the talent he was, and this one-shot is a suitable tribute. But an even better tribute would be for the Milestone characters to live on. Ill be watching carefully as the new DC Universe is announced, and I really hope to see these characters represented.

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.

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

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

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.

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.

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.

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.

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 situation with Dexter's father is a sad one, and it gives the characters a real tangible goal with real stakes beyond those of the crazy monsters and supervillains they have to fight. Perhaps even more important, though, is the way the Dexter/SD relationship is painted. Although SD is the big gun and the title character, he's most definitely the sidekick in this scenario. Dexter is our star, Dexter is our hero, and that places this book firmly in the camp of such good company as Marvel's Sentinel series or Mike Kunkel's Herobear and the Kid. It's a child's wish fulfillment fantasy with some real intelligence to it, and that's exactly the way to play a book like this to make it work.

It's how this book goes " every time we get comfortable in one status quo, something happens to shake it up. The good thing is that he never shakes it up in a way you would expect. The end of the issue, of course, is as chilling and powerful as we've come to expect. Nothing and nobody in this book is safe, and that makes it one of the few comic books in publication we can legitimately say that about.

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.

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

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

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.

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.

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.

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.

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.

The pages tend to lose their flow and there's no real coherency to the future versions of Red Robin or his crew. Storytelling has to come first, and when it doesn't, even a good script can't rescue the artwork. I get what the creative team was trying to do this month, but it just didn't work. Hopefully we'll get more traditional next month.

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.

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.

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

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

This book is weird, crazy, and really fun.

Great issue of what is probably Marvels best ongoing series.

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

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

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

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

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.

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.

Nicola Scott, of course, does the usual beautiful artwork we've come to expect from her, aided by fine inks fromm Doug Hazlewood and knockout colors from Jason Wright. This creative team has taken one of DC's finest properties and finally made it worthwhile again.

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.

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.

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.

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.

Howard's designs are really fun, especially Super Dinosaur himself. The cool stuff is actually pretty subtle, too " I was halfway through the book before I realized that Super Dinosaur was using his stubby Tyrannosaurus arms to operate the controls for his robot arms. This book really is fun, and it's the sort of thing Image isn't doing anywhere else. That alone makes it worth giving a try.

It's a powerful read, a far more powerful read than most other comics you've picked up lately. Sid Kotian and Bill Farmer hit us, once again, with a very nice looking comic, and Keu Cha gives us his best cover to date. This issue was a bizarrely wonderful way to end this series, and I hope to see the Twilight Guardian again.

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.

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

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.

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.

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.

The "advanced meta-science" department, to be honest, does sound a little bit like what Jonathan Hickman is doing with the Future Foundation over in FF, but it's not like Hickman invented the idea of recruiting super-geniuses either. I'm just keeping my fingers crossed that Lemire does something different with the concept, and I also hope that the Atom finds a home in this title. Lemire was doing great work with the character in his Adventure Comics serial, and it'd be nice to see him with a permanent home somewhere in the DCU.

Having read four great issues already, I wasn't surprised at how well he pulled it off, but that doesn't mean I can't be impressed. Chamberlain is already working on a new project, and Sweets isn't the sort of thing that would naturally invite a sequel, but I really hope he finds a way to return to this world someday. Not enough comic creators can paint such a perfect picture of my hometown and still tell a hell of a story in the process.

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.

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

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.

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.

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.

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.

After two sub-par chapters of Reign of Doomsday, its nice to have an installment that rises to the level of the great Steel one-shot that kicked it off. Lets hope the quality continues as the story moves into Superboy.

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

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

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 scene where Ender and Jane have their major difference of opinion simply doesn't work here. The scene, told in the novel from Jane's perspective, takes place almost entirely in her computer world in the space of microseconds, in which virtually everything changes. Here, we see the scene from Ender's perspective, where a simple on-off switch has completely inexplicable results. We lose all the impact here, we don't understand what's happened to Jane, and that information is absolutely vital for the rest of this book, not to mention the final two novels in the series. Hopefully, Johnston has a way to bring that stuff back before the miniseries reaches its conclusion, but for the moment, it feels terribly lacking.

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.

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.

Chang's artwork is sharp, and I really like how good he is at differentiating the ages between the characters. Mahmud Asrar gives us a good cover, just enough to make me wish he was the one taking over the art for this book. This book has really been top-notch for some time. We can only hope that the team taking the book over will keep it up.

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.

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.

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?

Going into the final issue of this miniseries, I'm really interested to see just where it's all going to end up. There are a few different ways Hickman could take this, or he might throw us a curveball and go somewhere else entirely. No matter the case, he's giving us a hell of a ride.

This is good stuff. It isnt common man Superman, but its Superman reminding himself what it means to be a superhero, which is just as legitimate a path to take, and actually, much more in keeping with the spirit of this storyline. I didnt see this path coming, but I welcome it now that its here.

I really, really liked this first issue. Welcome to the DC Universe, Xombi. Hope you stick around for a while.

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.

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.

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.

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

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

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.

Very good issue, though.

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.

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

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

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

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.

While I didn't expect to see McCoy tooling around in Bumblebee or Snake-Eyes helping to bust ghosts, I was hoping for at least a little more connectivity between the different worlds of this crossover than we've been given thus far. For that reason, mostly, while I've liked the stuff we've gotten from Infestation, I haven't liked it as much as I hoped I would.

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

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

Great issue of a fantastic title.

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.

The story here has been great, and the art isnt too bad. This is easily my favorite X-title of the moment.

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

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.

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.

Strong artwork from Chriscross also helps this book out a lot. His designs for the "other" Superman and Batman are really cool " kind of medieval while still feeling in-character, given the last page reveal. And the interaction between Batman and Detective Chimp, always funny, is improved nicely by Cross' work on the Chimp's face. Best issue of this title in quite some time.

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.

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.

What's really great about this issue, though, is that new characters never really seem to leave this cast. Once someone shows up, they can pop in at any time, and I really hope that this is just the beginning of more adventures with the Marvels in the future.

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.

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).

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.

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.

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.

So far so good for the new creative team.

Really great issue. Hickman is doing fine work.

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.

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.

Really, really nice way to kick off this story.

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.

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.

Still, there are things that still need to be clarified. Knowing that someone is responsible for Supermans current state of mind doesnt make it more fun to read about, and as we are going into the second half of this storyline, hopefully Roberson will be able to steer it to a satisfying resolution.

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.

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.

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.

Neil Edwards' artwork is solid, with some really nice full-page spreads full of power and energy. Our heroes, particularly Fandral and Vostagg, share the same expressions a bit too much. Their faces are differentiated nicely (look at the shapes of their noses, for instance), but they have the same smile at lot of the time. The package is good, though, and entertaining.

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

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 book has really impressed me ever since its launch. Im glad Superboy has a home again, and even more happy that its such a good one.

This book really works as a bridge, tying together dozens of time travel characters and adventures stretching back from Armageddon 2001 and laying ground for Flashpoint. And taken from that perspective, its just what you want.

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.

The issue opens with an Infestation update, presumably for fans of the TransFormers who arent reading the greater crossover. Good call, but it should work the other way too. People picking this book up just because of the crossover could really use a primer on the IDW version of the TransFormers universe.

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.

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

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.

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.

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.

Hester is doing very well with what Straczynski left behind, but I must say, I'm looking forward to seeing what he can do on his own. He's proven already he can write Diana " let's see how he does when he plots her as well. --Blake M. Petit

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.

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.

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 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 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.

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.

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.

Aaron Johnston has a tough task, exploring the rather detailed science that's yet to come, but he certainly seems up to the task. In this first issue he hits all the major points that will be necessary for the reveal later to make sense. Pop Mhan's art really works well with the Pequininos. He matches the description in the book fairly well, giving them a look that's very much unearthly, while still looking familiar enough for their nickname to make sense. If you've enjoyed the Ender's Game comics so far, you'll enjoy this one too.

I'm less happy with what's done here with Sueprboy and Wonder Girl, although I think this is just a case of Krul picking up where other writers were pointing them already. Still, it comes off as lazy storytelling, taking this particular track just because they don't know what else to do with the couple, which we've seen a million and one times in comics and TV shows. I'm used to it, and I'm not surprised, but that doesn't mean I like it. I do like Nicola Scott's art, though " absolutely gorgeous on every page. She's one of the best superhero artists working right now. Here's looking forward to the next arc

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.

This is a really clever idea, executed wonderfully. Hickman is, again, building on the tropes of the superhero to deliver something totally new, and thats always the sort of comic book that will get my attention.

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.